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About the Book

This book presents a complete transla-
tion of Bhanudatta’s Rasamanjari. The
text is illustrated with 80 paintings of
the Basohli and Nurpur Schools,
which are characterized by vibrant
colours and passionate expression.

oe
a ae

Basohli Paintings
Of

The Rasamanjari

M.S. RANDHAWA and S. D. BHAMBRI

ABHINAYV

QONINAV OUDLICATIONS
NEW DELHI

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1 Deptt of Arts ie
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First Published: 1981
© M. S. Randhawa & S. D. Bhambri

Publishers

Shakti Malik

Abhinav Publications

E-37 Hauz Khas, New Delhi-110016

Printed by

M.M. Sharma

At Parnassus Publishers & Printers Pvt. Ltd.
H.S. 30 Kailash Colony, New Delhi

Chapter I

Ill

Vil

Vill

Contents

Preface
List of Illustrations
Bhanudatta’s Rasamanjari

Classification of Nayikas
The Artless, the Adolescent and the Mature

Parakiya Nayika
Nayika who is in love with another man

Love in Separation
Pride and Obduracy, Garva and Mana

Proshita Bhartrika Nayika :
Nayika whose lover or husband is away.”

Khandita Nayika
Nayika who has been wronged

The Nayika Estranged by a Quarrel es
Kalahantarita

The Neglected Nayika
Vipralabdha

The Yearning Nayika
Utka

Nayika Waiting for Her Lover with Bed Prepared
The Vasakasajja

The Loyally Loved
Svadhina-patika

Vil

28
28

42
42

48
48

34
54

ne
59

65
65

70
70

76
76

83
83

XII

XIII

XIV

XVI
XVII
XVIII

XIX

Nayika Who Goes Out to Seek Her Lover
Abhisarika

Nayika Anticipating Separation
Pravatsyat-patika Nayika

Another Classification of Nayikas
Uttama, Madhyama, Adhama

Sakhis—Female Friends of the Nayika
and Their Functions

Nayaka
Sakhas—Nayaka’s Friends
Love in Separation

Seeing the Lover
Darshana

References

103

107

114

129

133

144
144

149

Preface

Shringara literature in Sanskrit and Hindi classics has a unique
place in world literature. Shringara refers to love as represented in
literature. Nayaka is the hero or lover. Nayika is the heroine or
woman who is loved. Nayikas are classified according to their age or
experience, their physique and talent.

Shringara literature has its roots in Bharata’s Natyashastra, a
treatise on dramaturgy, which dates back to 100 B.C. to second century
A.D. It deals with the doctrine of rasa or flavour, and bhavas or
emotions. ‘Then follows a subtle classification of women, according to
mood, sentiment and situation called Nayika-bheda. The eight-fold
classification of heroines is given, and female messengers, their qualities
and functions are described.

Jayadeva, the court poet of Lakshmanasena (A.D. 1179-1205),
wrote the Sanskrit poem, the Gita Govinda, in which he described the
love of Radha and Krishna in all its stages. Here Radha is the Nayika,
and Krishna is the Nayaka.

Eastern India became an important centre of Radha and Krishna
cult in the fifteenth century. Vidyapati (fl A.D. 1400-1470) the poet
of Bihar wrote in the sweet Maithili dialect on the loves of Radha and
Krishna. A contemporary of Vidyapati was Chandi Das (fl A.D. 1420)
who lived at Nannura in Birbhum district of West Bengal. In his
Krishna Kirtana, Chandi Das describes the love of Radha and Krishna

in different phases.

Following the same tradition Bhanudatta, who belonged to Tirhut
in Bihar, wrote his Rasamanjari, or Bouquet of Delight, in the fifteenth
century. In Rasamanjari, the subject of Nayika-bheda is treated for
its own sake for the first time in Indian literature. Rasamanjari has a
unique place in Sanskrit love poetry. In the close of the sixteenth
century, it provided the base for the Rasikapriya of the Hindi poet,
Keshav Das of Orchha, which contains a more elaborate classification
of Nayikas and Nayakas, and their moods and feelings.

vii

It is surprising how the Rasamanjari did not attract the attention
of the British orientalists, who assiduously translated so many Sanskrit
classics. It is the studies of Indian miniature paintings and their texts,
which drew the attention of scholars to this delightful poem in the
current century. The pioneer of studies in Indian miniature paintings,
Dr Ananda K. Coomaraswamy, recorded eight paintings of the Rasa-
manjari in Basohli style (or Jammu, as he called it) in 1926. However,
he could not relate them to the Rasamanjari. Hirananda Shastri in
1936 read the colophon of series of paintings and discovered that the
text of these paintings relates to Bhanudatta’s Rasamanjari.

As a translation of the Rasamanjari in English was not available,
scholars of Indian miniature paintings gave imaginary interpretation
of the scenes shown in the paintings. In a painting, a cat and a rat are
shown on roof-top below which the Nayika is sitting along with her
Sakhi. The cat was interpreted as Krishna, chasing the rat, who
was Radha. It is for the first time, a complete translation of the
Rasamanjari has been provided, and it leaves no room for fanciful
interpretation of animals or human beings depicted in paintings.

The Rasamanjari is a long poem. It is only for convenience of the
reader that the text has been split up into nineteen chapters. In this
book we relate 87 paintings to the text.

Collection of photographs of paintings which were scattered in
collections of private collectors and museums was an arduous task. We
are grateful to late Dr W.G. Archer, Keeper Emeritus, Victoria &
Albert Museum, London, and the Keeper, Indian Section, Museum of
Fine Arts, Boston, for providing photographs of the Rasamanjari
paintings in their collections. We also acknowledge the help given by
the Curator, Dogra Art Gallery, Jammu; Partap Museum, Srinagar;
Chandigarh Museum; National Museum, New Delhi; Bharat Kala
Bhavan, Banaras; Seth Kasturbhai Lalbhai, Ahmedabad; and Professor
J.K. Galbraith in allowing the reproduction of photographs of paintings
of the Rasamanjari in their collections. We further record our gratitude
to Mr F.S. Aijazuddin for providing photographs of the paintings of
the Rasamanjari in the collection of Lahore Museum and Pakistan
Museum, Karachi.

Vill

This Bouquet of Delight of Bhanudatta illustrated with delightful
paintings in Basohli and Nurpur styles of Pahari paintings will provide
joy to many persons who will savour the sensuous beauty of Bhanu-
datta’s poem and its rendering in painting by the artists of the Punjab
Hill States.

M. S. Randhawa
S. D. Bhambri

List of Illustrations

Plate

10.

Ei.

. Jnata-Yauvana-Mugdha (Nayika conscious of her youth) (6);

Prayer to Lord Shiva; Collection: Raja Dhruv Dev Chand of
Lambagraon

. Characteristics of Sviya Nayika (devoted wife) (3); Collection:

Dogra Art Gallery, Jammu

. Ajnata-Yauvana-Mugdha (Nayika unconscious of her youth) (5);

Collection: Dogra Art Gallery, Jammu

. Mugdha-Navodha (Nayika newly wedded) (7); Collection:

Dogra Art Gallery, Jammu

. Ativishrabdha-Navodha (Nayika with much love and trust) (9);

Collection: Dogra Art Gallery, Jammu

. Rati-Priya-Pragalbha (mature Nayika who delights in love) (10);

Collection: Dogra Art Gallery, Jammu

. Madhya-Dhira Nayika (youthful Nayika who expresses her anger

ironically but remains firm in love) (12); Collection: Alma Latifi,
Bombay

. Praudha-Dhira (mature Nayika who expresses her anger ironically

but remains firm in love)
Praudha-Adhira Nayika (mature Nayika who expresses her anger
bitterly) (16); Collection: Dogra Art Gallery, Jammu

Praudha-Dhira-adhira (mature Nayika who expresses her anger
ironically and bitterly) (17); Collection: Dogra Art Gallery, Jammu

. Dhira-Jyeshtha and Kanishtha (the two Dhira Nayikas; Jyeshtha,

who is loved more, and Kanishtha, who is loved less) (18);
Collection: Dogra Art Gallery, Jammu

. Dhiradhira (Jyeshtha and Kanishtha Praudha Nayikas) (20);

Collection: Dogra Art Gallery, Jammu

. Praudha Parakiya (married Nayika who is in love with another

man) (21); Collection: Dogra Art Gallery, Jammu

13.

16.

Hi.

19.

20.

21.

22:

23.

24.

25.

26.

22५

28.

29.

30.

Parakiya Gupta (Parakiya Nayika who conceals evidence of
meeting with her lover) (22); Collection: Victoria and Albert
Museum, London

Vag-Vidagdha-Parakiya Nayika (clever in speech) (23); Collection:
Kasturbhai Lalbhai, Ahmedabad

Kriya-Vidagdha Nayika (clever in deed) (24); Collection:
Victoria and Albert Museum, London

. Lakshita-Parakiya Nayika (whose love has been disclosed) (25);

Collection: Victoria and Albert Museum, London
Anushayana-Prathama Nayika (who is sad on account of her
meeting place having been destroyed) (27); Collection: Partap
Museum, Srinagar
Tritiyanushayana-Parakiya Nayika (who is sad at being unable to
reach the meeting place) (29); Collection: Kasturbhai Lalbhai,
Ahmedabad

Kanyaka (unmarried Parakiya Nayika) (31); Collection: Dogra
Art Gallery, Jammu

Samanya Vanita Vasakasajja Nayika (courtesan) (32); Collection:
Kasturbhai Lalbhai, Ahemdabad

Anya-Sambhoga Dukhita Nayika (who is grieved at her beloved’s
love for another woman) (33); Collection: Partap Museum,
Srinagar
Prem-Garvita Nayika (who is proud of her lover’s love for her)
(34); Collection: Victoria and Albert Museum, London

Rupa-Garvita (who is proud of her beauty) (35); Collection:
Victoria and Albert Museum, London

Laghu-Mana (Nayika’s low pride) (36); Collection: Dogra Art
Gallery, Jammu

Guru Mana (Nayika’s high pride) (38); Collection: Prof. J.K.
Galbraith, Harvard University, Cambridge, USA

Mugdha Proshita-Bhartrika (Mugdha Nayika whose husband is
away) (39); Collection: A.K. Coomaraswamy

Madhya Proshita-Bhartrika (Madhya Nayika whose husband is
away) (40); Collection: Dogra Art Gallery, Jammu

Praudha Proshita-Bhartrika (Praudha Nayika whose husband is
away) (41); Collection: Dogra Art Gallery, Jammu

Xli

So),

33;

34.

39.

36.

Si.

38.

39,

40.

1५

42.

43.

44,

45.

46.

47.

. Samanya Proshita-Bhartrika (courtesan whose lover is away)

(43); Collection: Kasturbhai Lalbhai, Ahmedabad

Mugdha Khandita (Mugdha Nayika who has been wronged) (44);
Collection: National Museum, New Delhi

Samanya Khandita (courtesan who has been wronged) (48);
Collection: Kasturbhai Lalbhai, Ahmedabad

Mugdha Kalahantarita (Mugdha Nayika estranged by a quarrel)
(49); Collection: Dogra Art Gallery, Jammu

Praudha Kalahantarita (Praudha Nayika estranged by a quarrel)
(51); Collection: Dogra Art Gallery, Jammu

Parakiya Kalahantarita (Parakiya Nayika estranged by a quarrel)
(52); Collection: Dogra Art Gallery, Jammu

Samanya Kalhantarita (courtesan estranged by a quarrel) (53);
Collection: Dogra Art Gallery, Jammu

Mugdha Vipralabdha (the neglected Mugdha Nayika) (54);
Collection: Dogra Art Gallery, Jammu

Parakiya Vipralabdha (the neglected Nayika) (57); Collection:
Dogra Art Gallery, Jammu (Colour)

Samanya Vipralabdha (the neglected courtesan) (58); Collection:
Dogra Art Gallery, Jammu

Mugdhotka (the yearning Mugdha Nayika) (59); Collection.
Kasturbhai Lalbhai, Ahmedabad

Madhyotka (the yearning Madhya Nayika) (60); Collection:
Kasturbhai Lalbai, Ahmedabad

Praudhotka (the yearning Praudha Nayika) (61); Collection:
Kasturbhai Lalbhai, Ahmedabad

Parakiya Utka (the yearning Parakiya Nayika) (62); Collection:
Kasturbhai Lalbhai, Ahmedabad

(Please read Illustration No. 43 on page 74 as Fiustration No. 44.)

Samanya Utka (the yearning courtesan) (63); Collection:
Kasturbhai Lalbhai, Ahmedabad

Mugdha Vasakasajja (Mugdha Nayika waiting and _ preparing
herself for the lover) (64); Collection: Dogra Art Gallery, Jammu
Madhya Vasakasajja (Madhya Nayika waiting and preparing
herself for the lover) (65); Collection: Lahore Museum (Colour)

xiii

48.

49.

30.

51.

52.

D3.

24,

35.

56.

58.

59.

60.

61.

62.

63.

64.

Praudha Vasakasajja (Praudha Nayika waiting and preparing
herself for the lover) (66); Collection: Dogra Art Gallery, Jammu
Praudha Vasakasajja’s desire (67); Collection: Kasturbhai Lalbhai,
Ahmedabad

Parakiya Vasakasajja (Parakiya Nayika waiting and preparing
herself for the lover) (68); Collection: Punjab Museum, Chandi-
garh (Colour)

Samanya Vasakasajja (the courtesan waiting and preparing her-
self for the lover) (69); Collection: Dogra Art Gallery, Jammu
Madhya Svadhina-Patika (Madhya Nayika who is loyally loved)
(71); Collection: Dogra Art Gallery, Jammu

Praudha Svadhina-Patika (Praudha Nayika who is loyally loved)
(72); Collection: Dogra Art Gallery, Jammu

Parakiya Svadhina-Patika (Parakiya Nayika who is loyally loved)
(73); Collection: Dogra Art Gallery, Jammu

Samanya Svadhina-Patika (courtesan who is loyally loved) (74);
Collection: Dogra Art Gallery, Jammu

Mugdha Abhisarika (Mugdha Nayika who goes out to seek her
lover) (75); Collection: A-K. Coomaraswamy

Madhya Abhisarika (Madhya Nayika who goes out to seek her
lover) (76); Collection: Dogra Art Gallery, Jammu

Praudha Abhisarika (Praudha Nayika who goes out to seek her
lover) (77); Collection: Dogra Art Gallery, Jammu

Parakiya Abhisarika (Parakiya Nayika who goes out to seek her
lover) (78); Collection: Dogra Art Gallery, Jammu

Jyotsna Abhisarika (Nayika who goes out to seek her lover on a
moonlit night) (79); Collection: National Museum, New Delhi
Samanya Abhisarika (courtesan who goes out to seek her lover)
(82); Collection: Dogra Art Gallery, Jammu

Madhya Pravatsyat-Patika (Madhya Nayika anticipating separa-
tion) (85); Collection: Kasturbhai Lalbhai, Ahmedabad

Parakiya Pravatsyat-Patika (Parakiya anticipating separation)
(87); Collection: Dogra Art Gallery, Jammu

Madhyama (Nayika who, though loving, reviles her lover for his
lapses) (90); Collection: Dogra Art Gallery, Jammu

XIV

65.

66.

67.

68.

69.

70.

ike

72.

(pox

74,

75.

76.

78.

19.

80.

81.

82.

Adhama (Nayika who, though loved, insults her lover) (91);
Collection: Kasturbhai Lalbhai, Ahmedabad

Mandana (decoration of Nayika by Sakhi) (92); Collection:
Kasturbhai Lalbhai, Ahmedabad

Upalambha (reproachful complaint by Sakhi) (93); Collection:
Dogra Art Gallery, Jammu

Shiksha (instruction by Sakhi) (94); Collection: Kasturbhai
Lalbhai, Ahmedabad

Sakhikrita Parihasa (jesting by Sakhi) (95); Collection: Dogra
Art Gallery, Jammu

Virahanivedana (narration of the pain of separation by messenger-
girl) (99); Collection: Dogra Art Gallery, Jammu

Anukula Nayaka (Nayaka devoted only to his wife) (101);
Collection: Bharat Kala Bhavan, Banaras

Shatha Nayaka (Nayaka the rakish and hypocritical husband)
(104); Collection: Museum of Fine Arts, Boston

Upapati (Nayaka loving another’s wife) (105); Collection:
Museum of Fine Arts, Boston

Adhama Vaishika (Nayaka the rake) (109); Collection: Museum
of Fine Arts, Boston

Mani (the proud Nayaka) (110); Collection: Museum of Fine
Arts, Boston

Vaka Chatura (Nayaka clever in speech) (111); Collection:
National Museum, New Delhi

Cheshta Chatura (Nayaka clever in deed) (112); Collection:
Museum of Fine Arts, Boston

Proshitapati (Husband in separation) (113); Collection: Victoria
and Albert Museum, London

Proshita Upapati (Upapati in separation) (114); Collection:
National Museum of Pakistan, Karachi (Colour)

Vidushaka Sakha (Nayaka’s friend, the clown) (120); Collection:
Victoria and Albert Museum, London

Vipralambha (separation) (123); Collection: Victoria and Albert
Museum, London

Smriti (reminiscence) (126); Collection: Victoria and Albert
Museum, London

83.

84.

85.

86.

87.

Udvega (agitation) (128); Collection: Kasturbhai Lalbhai,
Ahmedabad

Unmada (frenzy) (130); Collection: Kasturbhai Lalbhai,
Ahmedabad

Jadata (stupor) (133); Collection: Victoria and Albert Museum,
London

Chitra Darshana (seeing of lover in picture) (135); Collection:
Museum of Fine Arts, Boston

Sakshat-Darshana (seeing lover to face fcec) (136); Collection:
Bharat Kala Bhavan, Banaras

xvi

CHAPTER I

Bhanudatta’s Rasamanjari

India has had a tradition of love poetry since the time of the
Vedas. In Bharata’s Natyashastra, a treatise on poetics and dramaturgy
dating almost to the Ist century B.C., the theme of the Eight Nayikas
is clearly mentioned. In Natyashastra as well as other early Sanskrit
works the theme of Nayika-bheda is however treated as incidental
to other subjects. It was in Bhanudatta’s Rasamanjari that the subject
of Nayika-bheda was treated for its own sake for the first time.

Bhanudatta belonged to Tirhut in Bihar and flourished in the
close of the fifteenth century. In the last verse of Rasamanjari, num-
bered 138, Bhanudatta mentions that he was the son of the poet
Ganeshwara, a resident of the city of Mithila.

Rasamanjari is an important record of the social life of the upper
classes in India in the close of the fifteenth century. It reveals an ease-
loving society in which plurality of wives was common. Most of the
piquant situations described by Bhanudatta arise when the Nayaka tries
to make love to his favourite without exciting the jealousy of the
other. Apart from being a record of social life Rasamanjari also reveals
the spiritual aspiration of the Hindus in the age. From its pages we
learn how Krishnaism, the cult of a loving God, was finding popularity
among the people.

From the sixteenth century onwards Nayika-bheda became the
favourite subject of Hindi poets. The most celebrated among them was
Keshav Das who flourished about A.D. 1580. His home was in Tehri
in Garhwal State and he migrated to Orchha in Central India. His
Rasikapriya is obviously based on Bhanudatta’s Rasamanjari. Keshav
Das, however, illustrated the various types of Nayakas and Nayikas

with examples derived from contemporary life. In this work Krishna is
the Nayaka and Radha is the Nayika. In some verses Shiva is the
Nayaka and Parvati the Nayika. In few Rama is the Nayaka and Sita
is the Nayika. Though it has a remote religious flavour, Rasikapriya
was written for the enjoyment of a prince with a large harem. Hence the
subtle classification and analysis based on situation, moods, and phy-
sical traits of women.

In due course Moslem rulers also acquired taste for this type of
literature. The next Hindi work of importance is Sundarasringara
written by Sundar Das, court poet of Shah Jahan in A.D. 1631.

In the latter half of the seventeenth century Akbar Shah wrote
Sringaramanjari in Telugu. The work is based on Rasamanjari of
Bhanudatta and a commentary on it called Amoda. The patron was
Abdul Hasan Tana Shah, the king of Golconda, a liberal-minded ease-
loving Muslim who enjoyed mixing with his Hindu subjects and partici-
pated in their festivals. A translation of Sringaramanjari in English
has been provided by Raghavan in a monograph entitled Sringara-
manjari by Saint Akbar Shah.

Paintings of the Rasamanjari

In the seventeenth and eighteenth centuries Rasamanjari became
a favourite text with the rulers of Rajasthan and the Punjab hill states.

A series of paintings based on this text were painted for Raja Kirpal
Pal of Basohli.

Coomaraswamy published two paintings of the Rasamanjari in
‘Rajput Paintings’ (1916), viz., Plates XXVII A and 8 from his own
collection which he described Pahari (Jammu). The first one he described
as Virahini and the second as Abhisarika Nayika. He assumed that
Plate XXVII B related to Keshav Das’s Rasikapriya.

In addition to the two paintings mentioned above, Coomaraswamy
recorded eight more paintings in the Catalogue of the Indian Collections
of the Museum of Fine Arts, Boston, Part V, Rajput Paintings (1926).
He could not relate them to Rasamanjari and merely states: ‘Evidently
from an extensive series illustrating some treatise on Nayika-bheda;

The numbering of the folios represented ranges from 15-133. The
series is characterised by strong colour with red borders onto which the
picture intrudes.’* He also mistranslates some of the inscriptions.

The discovery that this set of paintings relates to Bhanudatta’s
Rasamanjari was made by Hirananda Shastri in 1936. Shastri also
established that Basohli was the provenance of these paintings, and the
patron was Raja Kirpal Pal of Basohli (A.D. 1675-1694). The painting
which bears the colophon illustrates verse 136 of Rasamanjari describing
“Sakshat-Darshan” (Fig. 81), and is now in the Bharat Kala Bhavan,
Benares. The translation of the inscription on the colophon as provided
by Shastri is as below:

“In order to see the creation of God and to realise the hollow-
ness of the world this (Chittarasamanjari), containing many
pictures (which are) the wealth (i.e., creation) of mind, was
caused to be prepared by Raja Kirpal Pal. (It was completed)
on the auspicious day, the seventh tithi of the bright fortnight
of Magha in the Vikrama year (which is) counted by the eyes,
the arrows, the sages and the moon, i.e., 1752, in the town
called Visvasthali (the modern Basohli) which lies on the
beautiful banks of the Airavati (the modern Ravi), by
Devidasa who is well-versed in the art of painting.’’**

After Coomaraswamy and Hirananda Shastri, the next scholar
who studied the Rasamanjari paintings is W.G. Archer. Discussing
the theme of Basohli paintings and the work of Basohli artists in
Loves of Krishna (1957), Archer observes—‘Their greatest achieve-
ments, however, were two versions of Bhanudatta’s Rasamanjari, one
of them completed in 1695, shortly after Raja Kirpal Pal’s death, the
other almost certainly fifteen years earlier. The text in question is a
treatise on poetics illustrating how romantic situations should best be
treated in Sanskrit poetry—the conduct of mature mistresses, experi-
enced lovers, sly go-betweens, clowns or jokers being all subjected to
analysis. The subject of the text is secular romantic poetry and
Krishna himself is never mentioned. Nonetheless, in producing their

*Coomaraswamy, A.K.—Catalogue of the Indian Collections of the Museum of Fine Arts,
Boston, Part II Rajput Painting, p. 170.

**Shastri— Indian Pictorial Art as Developed in Book IIlustrations, p. 9.

illustrations, the artists made Krishna the central figure and we can
only conclude that eschewing the obvious Rasikapriya, Raja Kirpal
Pal had directed his artists to do for Sanskrit what Keshav Das had
done for Hindi Poetry—to celebrate Krishna as the most varied and
skilled of lovers and as acorollary show him ina whole variety of
romantic and poetic situations. As a result Krishna was portrayed in a
number of highly conflicting roles—as husband, rake, seducer, para-
mour and gallant.’*

Archer’s inferences regarding the dating of paintings of Rasa-
manjari we will discuss later on. As a complete translation of the
text of Rasamanjari was not available, his remark, that Krishna is not
mentioned by name in the verses of Rasamanjari, is based on surmise.
There are eleven verses in the Rasamanjari, viz , 29, 41, 61, 86, 94, 96,
99, 102, 119, 125 and 136, in which Krishna is mentioned by name. In
some of these Radha is also mentioned as the Nayika.

The Rasamanjari opens with a prayer to Shiva (verse 1) and in
verse 16 Shiva and Parvati are again mentioned. The artist who
painted the Basohli‘Rasamanjari of the Dogra Art Gallery, Jammu
and other related collections usually depicts the Nayaka as Krishna
even where his name is not mentioned in the text, and only in very
few illustrations the Nayaka is a common mortal. On the other hand
in the Nurpur Rasamanjari the Nayaka is depicted as a young man
with moustache and shaven chin or a bearded gallant and only-in a
few as Krishna.

In 1958 Karl Khandalavala gave a review of the existing
knowledge of the Rasamanjari paintings in his Pahari Miniature
Painting. He dates Kasturbhai Lalbhai’s Rasamanjari nearabout
A.D 1720 on the grounds of style and costumes. He also published a
painting of Madhya Dhira Nayika (Fig. 8) which as he mentions in
the text is from Alma Latifi collection, but in the caption he states
that it is from the Kasturbhai Lalbhai’s collection. In the study
supplement he reproduced fourteen paintings of the Rasamanjari, of
which two are from the Bharat Kala Bhavan which were originally
with Hirananda Shastri, one from the National Museum, six from the

*Archer, W.G.—Loves of Krishna, p. 105.

Catalogue of the Museum of Fine Arts, Boston, and five from the
Kasturbhai set.

Khandalavala published a note entitled ‘The Rasamanjari in
Basohli Painting’ in Lalit Kala nos. 3-4,1956-57 (actually published in
1959) in which he quoted Shastri’s translation of the colophon of the
series, and recorded twelve illustrations of Rasamanjari from the
collections of Kasturbhai Lalbhai, Bharat Kala Bhavan, Benares,
National Museum, New Delhi, and Museum of Fine Arts, Boston. He
also provides a gist of classification of Nayakas and Nayikas based on
Raghavan’s translation of ‘Akbar Shah’s Sringaramanjari’. He further
provides a translation of the text of five Rasamanjari paintings. He
violently disagrees with Archer regarding the Nurpur provenance of
Kasturbhai paintings without giving any sound reason.

The Rasamanjari paintings reproduced here relate to three series.
The most extensive of these is distributed in the Dogra Art Gallery,
Jammu, the Museum of Fine Arts, Boston, the Victoria and Albert
Museum, London, the Central Museum, Lahore, the Chandigarh
Museum, Chandigarh, and with private collectors. The entire series
comprises 135 paintings. Rasamanjari has 138 verses out of which three
cannot be illustrated. The paintings of this series have a horizontal for-
mat, red borders with inscriptions on the top in Takri characters and
serial numbers in Takri on the left. The Sanskrit verses are inscribed on
the back in Devanagari. Very often the picture intrudes into the border.
The architecture of pavilions is characteristic, with turrets, panelled
doors, latticed windows, and plinths ending in grotesque animal heads.
The interiors of rooms have alcoves in which fruit trays, rose water
sprinklers, and flasks of wine are placed. The carpets have crude floral
designs. Another characteristic is the highly conventionalised repre-
sentation of trees out of which mangoes, cypresses, pomegranates, and
rhododendrons can be identified. The treatment of clouds, lightning
and rain is also typical. Above all, they are characterised by a charming
facial formula for women, with a receding forehead, high nose, and
wide lotus petal-like eyes. The women wear pearl necklaces, and some
of their ornaments are studded with shining bluish green pieces cut out
of beetle’s wings. Profuse portrayal of pearl necklaces is very charac-
teristic of this series. The clothes of men are jamas of Aurangzeb
period. Except for this, there is nothing Mughal about these paintings,

which have an individual style which stands out of the rest of Indian

painting.

The Rasamanjari paintings in the Dogra Art Gallery, Jammu,
were in the collection of Pahda Kunj Lal of Basohli, whose ancestors
were royal physicians to the rulers of Basohli. In 1956 Kunj Lal
presented these paintings to Bakshi Ghulam Mohammad, Prime
Minister of Jammu and Kashmir, who donated them to the Dogra Art
Gallery, Jammu. Out of this collection we reproduce thirty-five. The
senior author saw these paintings in 1957 on a visit to Basohli and
Jammu. This collection is important as it is definitely linked with
Basohli. The Rasamanjari paintings in the Victoria and Albert Museum,
London, out of which we reproduce ten, and those in the Museum of
Fine Arts, Boston, out of which six are reproduced here, all belong to
the same series and have been probably acquired from the same source.
I saw three paintings in the Pratap Museum, Srinagar, which are also
out of the same series. Fig. 25 in the collection of Prof. J.K. Galbraith
now gifted to Fogg Art Museum, Harvard University, Boston, and
paintings in the collection of Central Museum, Lahore, and the Chandi-
garh Museum, Chandigarh, are also from the same series. The senior
author published four paintings in colour from this series in his book
‘Basohli Painting’ (1959). In an article published in the Roopa-Lekha,
Vol. XXXI (1960) the senior author published ten paintings of the
Rasamanjari from the collection of the Dogra Art Gallery, Jammu, and
also provided English translation of the Sanskrit verses inscribed on
the back. The Nayika in these paintings resembles the female atten-
dants depicted in a portrait of Kirpal Pal published in ‘Basohli
Painting’. This fact taken along with the appearance of Kirpal Pal
who is shown as a middle-aged person indicates that these Rasaman-
jari paintings were very probably painted circa A.D. 1680-1690.

The second series of these paintings partly in the Bharat Kala
Bhavan, Benares, and partly in the National Museum, New Delhi,
were painted by artist Devi Das whose name is given in the colophon
and the year as A.D. 1695. In these paintings the figures are squat,
the nose is aquiline, and the facial formula is different (Figs. 67, 72 and
82). However, these paintings do not duplicate those in the first series.
Maybe they belong to the same series. Surely a number of artists
were employed to illustrate the Rasamanjari by Kirpal Pal, and hence

the differences in the facial formula and the treatment of landscape.

The third series comprising 31 paintings is in the collection of
Seth Kasturbhai Lalbhai of Ahmedabad, which he acquired from G.N.
Tagore of Calcutta. This series is very distinctive in style and can
easily be distinguished from the set in Dogra Art Gallery, Jammu and
+n other related collections. This series was possibly painted at Nurpur
about A.D. 1730 under the patronage of Raja Daya Dhata according
to Archer. Daya Dhata figures as the Nayaka in this series. In the
collection of the Wazir family of Nurpur are a number of paintings in
which the female facial formula as well as the treatment of clouds and
architecture is very similar to that in Kasturbhai Lalbhai’s Rasaman-
jari. Out of this set we reproduce seventeen paintings. Fig. 1 in the
collection of the Raja of Lambagraon is very likely also from the same

series.

जे

1 Prayer TO LorD Suiva; Collection: Raja Dhruy Dev Chand of Lambagraon

आत्मीयं चरणं दधाति पुरतो निम्नोन्नतायां yfa
स्वीयेनेव करेण BGT तरो: पुष्पं श्रमाशंकया |
aed किच मृगत्वचा विरचिते निद्राति भागैनिजै-
Va: प्रेमभरालसां प्रियतमामंगे दधानो ZT ॥ १॥

Prayer to Lord Shiva

Apprehensive of discomfort to his sweetheart, Lord Shiva holds
Parvati—who is languid with excessive love—to the left portion of his
body; he extends his right foot forward on uneven ground; plucks a
flower from the tree with his right hand, and sleeps to the right on the
bed covered with a deer-skin. (1)

INTRODUCTION

Bhanudatta is composing this Rasamanjari to provide aesthetic
Joy to the minds of the multitude of scholars, as if it were honey to the |
bees. (2)

CHAPTER II

Classification of Nayikas

The Artless, the Adolescent and the Mature

Bhanudatta classifies Nayikas into three categories, v.z, one’s
own (Sviya), another’s (Parakiya), and anybody’s (Samanya).

Sviya is again divided into three types: the artless (Mugdha), the
adolescent (Madhya), and the mature (Praudha).

The Mugdha is divided into four types: Ajnata-Yauvana-Mugdha
(Nayika unconscious of her youth), Jnata-Yauvana-Mugdha (Nayika
conscious of her youth), Mugdha-Navodha (Nayika newly wedded),
Vishrabdha-Navodha (Nayika who has just begun to love and trust),
and Ativishrabdha-Navodha (Nayika with much love and trust).

The adolescent (Madhya) is divided into six categories, viz.,
Madhya-Dhira (youthful Nayika who expresses anger ironically but
remains firm in love), Madhya-Adhira (youthful Nayika who expresses
anger bitterly), Madhya-Dhiradhira (youthful Nayika who expresses
her anger ironically and bitterly), Praudha-Dhira (mature Nayika who
expresses her anger ironically but remains firm in love), Praudha-
Adhira (mature Nayika who expresses her anger bitterly), and
Praudha-Dhiradhira (mature Nayika who expresses anger ironically
and bitterly).

The mature (Praudha) Nayika is divided into two categories,
viz., Rati-Priya-Pragalbha (mature Nayika who delights in love), and
Ananda-Sammohavati-Praudha (mature Nayika excessively delighting
in love).

A Nayaka may have two Nayikas. Out of these one who is loved
more is called Jyeshtha, and one who is loved less is called Kanishtha.

They are divided into three categories, viz, Dhira-Jyeshtha and
Kanishtha (the two Dhira Nayikas; Jyeshtha, who is loved more, and
Kanishtha, who is loved less), Adhira-Jyeshtha and Kanishtha Nayikas,
and Dhiradhira-Jyeshtha and Kanishtha Praudha Nayikas.

2 CHARACTERISTICS OF SvIYA NAYIKA (devoted wife) (3); Collection: Dogra Art Gallery, Jammu

स्वीयाधम्मं

गतागतकुतूहलं नयनयोरपांगावधि

fend कुलनतश्रुवामधर एवं विश्वाम्यति ।

aa: प्रियतमश्रुते रतिथिरेव कोपक्रम:
कदाचिदपि चेत्तदा मनसि केवल Asafa ॥ ३ ॥

Characteristics of Sviya Nayika (devoted wife)

In a high-born woman, curiosity is confined within the corners of
her eyes, and her smile stays on her lower lip. Her voice is meant to
reach only her beloved’s hearing; and, if ever anger rises in her, it is
only to get drowned in her mind. (3)

मुग्धा

Maca किल कामदेवधरणीपालेन काले TA

aed वास्तुविधि विधास्यति तनौ तारुण्यमेणीह्रश: |
Lear खंजनचातुरी मुखरुचा सौधाधरी माधुरी
वाचा fea सुधासमुद्रलहरीलावण्यमामन्त्र्यते ।। ४ ॥

Mugdha Nayika (young and artless)

Ordained by Kamadeva, the King, to reside for a long time in
the body of the doe-eyed Nayika, her youth has resolved to worship
her Lord at an auspicious moment with all the rituals of love. For
this purpose, her eyes have invited the tremulousness of the Khanjana
bird, her face the radiance of the moon, and her speech the sweetness
of the waves of the nectarous sea. (4)

3. AJNATA-YAUVANA-MucpHA (Nayika unconscious of her youth) (5); Collection: Dogra Art Gallery, Jammu

AAAAAAT मुग्धा

नीरात्ती रमुपागता श्रवणयो: सीम्नि स्फुरन्नेत्रयो:

श्रोत्रे लग्नमिदं किमुत्पलमिति ज्ञातुं करं न्यस्यति |
दवालांकुरशंकया शशिमुखी रोमावलीं प्रोंछ॒ति
श्रान्ताउस्मीति मुहु: सखीमविदितश्रोणीभरा पृच्छति ॥ ५॥

Ajnata-Y बच्एदाव-1 4 2६/० (Nayika unconscious of her youth)

Youth has come unknown. The Nayika with moon-like face
stands drying herself beside the pool. Her full-blown eyes look like
lotuses in the reflection, and thinking that perhaps the flowers have
stuck to her ears, she moves her hands to brush them away. Next her
eyes drift to the downy hair on her person which she mistakes for algae
and tries to wipe off. Her hips feel heavy, and in virginal innocence she
asks her companion again and again, ‘Can it be that I am tired?’ (5)

4 JNATA-YAUVANA-MuGpHa (Nayika conscious of her youth) (6); Collection: Dogra Art Gallery, Jammu

ज्ञातयौवना मुग्या

स्वयम्भू: शम्भु रम्भोजलोचने ! त्वत्पयोधर:।
नखेन कस्य धन्यस्य चन्द्रचुड़ो भविष्यति ॥ ६ ॥

Jnata-Yauvana-Mugdha (Nayika conscious of her youth) Sakhi to Nayika

“O lotus-eyed beauty! Who will be the lucky one to imprint
nail-marks on your blissful, well-grown bosom—as if to decorate Lord
Shiva’s mop of hair—with the crescent moon?” (6)

5 MuGDHA-NAvcDHA (Nayika newly wedded) (7); Collection: Degra Art Gallery, Jammu

मुग्धा नवोढा

हस्ते धृताईपि शयने विनिवेशिता<पि
क्रोड़े Harsh यतते बहिरेव गन्तुम्‌ ।
जानी महे नवबधूरथ ATA वश्या

यः पारद स्थिरयितु क्षमते FT ॥ ७॥

Mugdha-Navodha (Nayika newly wedded)

Drawn gently to the bed and locked in loving arms, the new
bride out of modesty struggles to free herself. I believe it is as difficult
to win over a new bride as it is to hold quicksilver steady on the
palm. (7)

विश्रब्ध नवोढा
दरमुकुलितनेत्रपालिनीवीनियमितबाहुक्वतो रुयु ग्म बन्ध म्‌
करकलितकुचस्थलं नवोढा रवपिति समीपमुपेत्य कस्य यूनः ॥ ८ ॥

Vishrabdha- Navodha (Nayika who has just begun to love and trust)

A separated lover to himself

“Who can be the (lucky) youth, whom the newly-married Nayika
approached and with whom she sleeps with half-closed eyes, with one
hand on her breasts, the other on the knot of the cord of her lower
garment and her thighs tightly pressed together?” (8)

); Collection: Dogra Art Gallery, Jammu

6 AtIvIsHRABDHA-NavopHa (Nayika with much love and trust (9

अतिविश्रब्ध नवोढा
carer प्रियाननविलोकनहानिरेव स्वापच्युतौ प्रियकरग्रहणप्रसंग: |
इत्थं सरोरुहमुखी परिचिन्तयन्ती स्वापं विधातुमपि हातुमपि प्रपेदे ॥ ६॥

Ativishrabdha-Navodha (Nayika with much love and trust)

The modest Nayika is in a dilemma. To fall asleep is to lose
sight of the adored one; to remain awake is torisk physical possession.
Faced with this dilemma, she tosses restlessly on the bed. (9)

7 RATI-PRIYA-PRAGALBHA (Mature Nayika who delights in love) (10); Collection: Dogra Art Gallery,

रतिप्रिया प्रगल्भा

संस्पृश्य स्तनमाकलयूय aad संहिलष्य कण्ठस्थलं
निष्पीयाधरबिम्बमम्बरमपाकृष्य व्युदस्यालकम्‌ ।
देवस्याम्बुजिनीपते: aged जिज्ञासमाने प्रिये
वामाक्षीवसनांचले: श्रवणयोर्नीलोत्पलं fe नुते ॥ १० ॥

Rati-Priya-Pragalbha (mature N ayika who delights in love)

The fugitive night flees as the lover busily consummates one love-
rite after another—now sucking the nether lip (red like the Bimba fruit)
touching the bosom, hugging the neck, loosening the braid, and remoy-
ing the last veiling garments. Drowsily he asks if the sun has risen.
The Nayika, lest the morning should bring the love-play to a close,
hastily covers the lotuses in her ears with the hem of her garment, so
that their opening may not announce the day. (10)

Jammu

आनंद संमोहवती प्रोढ़ा

नखक्षतुमुर: स्थलेड्धरतल रदस्य ब्रणं

च्युता बकुलमालिका विगलिता a मुवतावलि:।

रतान्तसमये AAT सकलमेतदालोकितं

स्मृति: aa? च रति: aa? aaa? च तवालि! शिक्षाविधि: nee

Ananda-Sammohavati-Praudha (mature Nayika excessively
delighting in love)

Nayika to Sakhi

O Sakhi! I noticed the scratches on my bosom, the bites on my
lower lip, the falling apart of my garland of maulashri flowers, and the
shattering of my pearl-necklace only after the love-game. Where was
gone my recollection of your advice about the proprieties of love-
sport? (11)

8 Mapuya-Duira Nayika (youthful Nayika who expresses anger ironically but remains firm in love) (12)
Collection: Alma Latifi, Bombay.

मध्या धोरा

लोलालिपूंजे ब्रजतो fast स्फारा बमृवु: श्रमवारिधारा: |
देहे समीहे भवतो विधातुं धीरं समीरं नलिनीदले न ॥ १२ ॥

Madhya-Dhira (youthful Nayika who expresses anger ironically but
remains firm in love)

Nayika to unfaithful Nayaka

“My darling, you appear to be coming from a bower full of a
swarm of agitated bees, for your hot streaming perspiration afflicts you.
I wish to comfort your limbs with this fan of lotus leaves’’. (12)

The swarm of agitated bees are ०0

ther women to whom the unfaithful lover has been making
love.

मध्या WAT

जातस्ते निशि जागरो, मम पुनर्नेत्राम्बुज शोणिमा,
निष्पीतं भवता मधु प्रवितत॑, व्याघूणितं मे मन: |
भ्राम्यद्भूगंघने निकुंजभवने cet त्वया श्रीफलं,
Gay: Gata मां हुतवहक्ररं: AT: Feat ॥ १३ ॥

Madhya-Adhira (youthful Nayika who expresses anger bitterly)
Nayika to unfaithful Nayaka

“You did not sleep the whole night, but redness is in my lotus
eyes. Sweet wine (of love) was tasted by you to your heart’s content,
but, contrarily, it is my mind which is agitated. You gained the
Shriphala* in the green bower crowded with hovering bees, but Kama-
deva is piercing me with flaming arrows”. (13)

*This is suggestive of the other women’s bosom.

मध्या धीरा5धीर

कान्तानुरागचतुरो$सि मनोहरोडसि

नाथो४सि faa नवयौवनभूषितो5सि ।

इत्थं निगद्य gear वदने प्रियस्य

निःश्वस्य बाष्पलुलिता निहिता हृगन्ता:॥ १४॥

Madhya-Dhiradhira (youthful Nayika who expresses her anger ironically
and bitterly)

Nayika’s taunting remarks to Nayaka who is suspected of wooing another woman

“You are well-versed in the art of pleasing your sweet-hearts.
You are charming, you are my lord and you are glorious in your
youthfulness’.

Thus saying, the sweet-eyed Nayika sighed deeply and looked at
her beloved’s face from the corners of her tear-laden eyes. (14)

9 PRAUDHA-DHIRA (mature Nayika who expresses her anger ironically but remains firm in love)

प्रोढा धीरा

नो det भजसे न जल्पसि सुधाधारा$्नुकारा गिरो

ATs कुरुषे न वा परिजने कापप्रकाशच्छलात्‌ |

इत्थं केतकगर्भगोरि! दयिते! कोपस्य संगोपन

तत्स्यादेव, FATA: सहचरी Hata साचि स्मितम्‌ ॥ १५॥
The guilty Nayaka tries to amuse his Nayika who is trying to hide her anger
Nayaka to Nayika

“My sweet-heart, you are fair like the inner leaf of Ketaki. You

are hesitating to sit on my bed and to speak gently tome. You are
even avoiding to look towards me, on the pretext of showing anger to

your servants. You are doing all this to conceal your anger, for other-
wise why does your Sakhi smile obliquely”’. (15)

Ketaki is Pandanus odoratissimus which produces fragrant spathes durin

grains. Its tender
sword-like leaves are white.

10 PrRAUpHA-ApDHIRA NAYIKA (mature Nayika who expresses anger bitterly) (16); Collection: Dogra Art
Gallery, Jammu.

SST अधीरा

प्रतिफलमवलोक्य स्वीयमिन्दोः कलायां
हरशिरसि परस्या वासमाशंकमाना |
गिरिशमचलकन्या तजंयामास कम्प-
प्रचलवलयचंचत्कान्तिभाजा करेण ॥ १६॥

Praudha-Adhira (mature Nayika who expresses anger bitterly )

When the daughter of the King of Mountains (Parvati) saw her
reflection in the Moon on Lord Shiva’s forehead, she mistook it for
another Nayika sporting with the Lord. So in anger she raised her
trembling hand, adorned with glittering bracelets, to reproach her

lord. (16)
23

11 PRAUDHA-DHIRA-ADHIRA (mature Nayika who expresses anger ironically and bitterly) (17); Collection:
Dogra Art Gallery, Jammu.

प्रोढ़ा धी राइधी रा

तल्पोपान्तमुपेयुषि प्रियतमे वक्रीकृतग्रीवया
काकुव्याकुलावाचि साचिहसितस्फूजत्कपोलश्रिया ।
हस्तन्यस्तकरे FAY TEA लाक्षारसक्षालित-
प्रोष्ठीपृष्ठभयूखमांसलरुचो विस्फारिता दृष्टयः ॥ १७ ॥

Praudha-Dhira-adhira (mature Nayika who expresses anger ironically
and bitterly)

When the lover drew near her bed, the deer-eyed Nayika turned
her face away. When she heard him imploring in a heavy and agitated
voice, she smiled a little, and her cheeks became flushed. But as he
took hold of her hand, she—with eyes wide open (with rage)—cast
upon him a glance, which possessed the profuse brilliance of the rays,
emanating from the back of a fish dipped in molten lac. (17)

and Kanishtha,
who is loved less) (18); Collection: Dogra Art Gallery, Jammu.

12 Duira-JyESHTHA AND KANISHTHA (the two Dhira Nayikas; Jyeshtha, who is loved more,

धीरा ज्येष्ठा कनिष्ठा च

एकस्मिन्‌ शयने सरोरुहदशोविज्ञाय निद्रां तयो-

रेकां पल्‍लवितावगुण्ठनपटा मुत्कन्धरो दृष्टवान्‌ |

mazar: सविधं समेत्य निभृतव्यालोलहस्तांगुलि-
व्यापारवसनांचल चपलयन्‌ स्वापच्युति HATA | १८ ॥

Dhira-Fyeshtha and Kanishtha (the two Dhira Nayikas; Jyeshtha, who is
loved more, and Kanishtha, who is loved less)

When the Nayaka raising his head, saw both of his lotus-eyed
beloveds sleeping together in one bed, one of whom was veiling her
face, he stealthily drew near the other, (Cae er sari and
thus roused her from sleep. (18) eee) AS

अधीरा ज्येब्ठा कनिष्ठा च

अन्त: कोपकषायिते प्रियतमे पश्यन्‌ घने कानने
पुष्पस्यावचयाय नम्रवदनामेकां समायोजयत्‌ |
अ्र्धोन्मी लितलोचनांचलचमत्काराभिरामाननां
स्मेराद्राधरपल्लवां नववधूमन्यां समालिगति ॥ १६॥

Adhira-Fyeshtha and Kanishtha Nayikas

Seeing both his beloved Nayikas red with anger, the Nayaka sent
the elder one, whose face was down-cast, to the thick forest to fetch
flowers. He then, embraces the younger one wearing a shining garment
and with an attractive face who looks at him with drowsy eyes and a
smile on her moist lips. (19)

13 DurraApHtra (Jyeshtha and Kanishtha Praudha Nayikas) (20); Collection: Dogra Art Gallery, Jammu.

धी राष्धी रा ज्येब्ठा कनिष्ठा च
धैयूर्याधैययपरिग्रहग्रहिलियां रंणीद्रशां: प्रीतये
रत्नह्न्द्रमन्‍नकान्तिरूचिरं मुष्ठिद्रये न्‍्यस्तवान्‌ |

एकस्या: कलयन्‌ करे प्रथमतों FF: परस्या प्रियो
हस्ताहस्तिमिषात्स्पृशन्‌ कुचतटीमानन्दमाविन्दति ॥ २० ॥

Dhiradhira Jyeshtha and Kanishtha Praudha Nayikas

To please both the Nayikas—the cunning Nayaka held two
shining and beautiful jewels in the palms of his hands. He gave one
to the elder one, and, on the pretext of handing over the second to
the other, enjoyed the touch of her bosom. (20)

CHAPTER III

Parakiya Nayika

Nayika who is in love with another man

Bhanudatta classifies Parakiya nayikas into eleven categories
according to their intelligence, discovery of their love affair by others,
etc.

The first two categories are Parodha and Gupta. Parodha is
a married Nayika who is in love with another man. Parakiya Gupta is
one who conceals evidence of her meeting with her lover.

Another two categories are the clever Nayikas. The one who is
clever in speech is Vag-Vidagdha-Parakiya. The one who is clever in
deed, is Kriya-Vidagdha Nayika. Parakiya Nayika whose love has
been disclosed is called Lakshita-Parakiya Nayika. The Nayika who has
a large number of lovers is called Kulata. The Nayika whose meeting
place has been destroyed is called Anushayana Prathama Nayika. The
Nayika who is sad on account of her future meeting place having been
destroyed is designated as Dvitiyanushayana Nayika-Parakiya. Nayika
who is sad at being unable to reach the meeting place is called
Tritiyanushayana-Parakiya Nayika. The Nayika who is happy at the
prospect of fruition of love is called Mudita Parakiya Nayika. An
unmarried Nayika who is in love with another person is called
Kanyaka. A Nayika who loves for the sake of money is called Samanya
Vanita. A Nayika who is cheated by her messenger girl is called
Anya-Sambhoga Dukhita Nayika.

bes *

SPAR aC RNIN TIT ts

14 PARODHA PaRAKIYA (married Nayika who is in love with another man) (21); Collection: Dogra Art
Gallery, Jammu.

परकीया परोढा

ao रेवाकुंज: कुसुमशरसेवासमुचित:

समी रो5यं वेलादरविदलदेलापरिमल: |

za प्रावृडड war नवजलदविन्यासचतुरा
पराधीनंचेत: सखि! किमति कर्तु मृगयते ॥२१॥

Parakiya Parodha (married Nayika who is in love with another man)

Nayika to Sakhi

“0 Sakhi! This arbour on the bank of the Reva is a befitting
place for propitiating Kama. The breeze is fragrant with the odour
of half-blown cardamom flowers. This rainy season which brings forth
new clouds laden with rain is a blessing.

“0 Sakhi! My heart is under another's control and longs to give
itself up to unspeakable pleasures’’. (21)

POSEN Se SALTS OF
Aa unui uwan

rr;

२
*
!

15 PARAKIYA GupTA (Parakiya Nayika who conceals evidence of meeting with her lover) (22); Collection:
Victoria and Albert Museum, London.

परकोया गुप्ता

waa: क्रध्यतु विद्विषन्तु सुहदो, निन्दन्तु वा यातरः,

तस्मिन्‌ किन्तु न मन्दिरे सखि! पुन: card विधेयो मया।
आखो राक्रमणाय कोणकुहरादुत्फालमातन्वती

मर्जारी नखरे: खरे: कृतवती, कां कां न मे दुदंशाम्‌ ॥ २२॥

Parakiya Gupta (Parakiya Nayika who conceals evidence of meeting
with lover).

Naytka to Sakhi

“O Sakhi! My mother-in-law may get angry, my friends may
become hostile to me, and sisters-in-law may slander me; but I shall not
sleep again in that house where the cat, suddenly pouncing in her
attempt to attack a mouse coming out of a hole in the corner, scratched
my body with her sharp nails”. (22)

16 VAG-VIDAGDHA-PARAKIYA NayIKA (clear in speech) (23); Collection: Kasturbhai Lalbhai.
Ahmedabad.

वाग्विदग्धा
निबिडतमतमालवल्ली विचकिलराजिविराजितोपकण्ठे |
पथिक ! समुचितस्तवाद्य तीत्रे सवितरि aa सरित्तटे निवास: ॥ २३॥

Vag-Vidagdha-Paraktya Nayika (clever in speech)

“(0 traveller, the sun being piercingly hot today, it is proper for
you to rest on the bank of the river, adorned with rows of jasmine
creepers entwining tamala trees’. (23)

Tamala—Cinnamomum tamala, an evergreen tree with a dark trunk and fragrant leaves. The
reference by the Nyaika to Tamala trees entwined with jasmine creepers is an invitation for
love-making.

17 Kriya-VIDAGDHA NAyIKA (clever in deed) (24); Collecticn: Victoria and Albert Museum, London,

क्रियाविदग्धा
दासाय भवननाथे बदरीमपनेतुमादिशति ॥
ane हरिणाक्षी पयसि कुठारं विनिक्षिपति ॥ २४॥

Kriya-Vidagdha Najika (clever in deed)
A Sakhi to another

“In the winter season, her husband having bidden the servant to
cut the ‘ber’ tree, the doe-eyed Nayika dropped the axe into the water’’.

(24)
The implication is that the ‘ber’ tree was the place of rendezvous for the Parakiya Nayika
which she did not like to be destroyed.

This painting has been reproduced in colour in Barrett and Gray’s ‘Painting of India’,
p- 103.

Ber—Zizyphus jujuba—a thorny tree which bears delicious plum-like fruit in March.

18 LAKSHITA-PARAKIYA NAYIKA (whose love has been disclosed) (25); Collection: Victoria and Albert
Museum, London.

लक्षिता
यद्‌ भूतं तद्‌ भूतं यद्‌ भूयात्तदपि वा भूयात्‌ ॥
यद्भवति तद्भवति वा विफलस्तव कोडपि गोपनायास: ॥ २५॥

Lakshita-Parakiya Nayika (whose love has been disclosed)

A Sakhi who knows the Nayika’s secret, speaks to her thus in jest :
“What was to happen has happened; what is to happen will

happen; and what is happening is also happening. Any effort on your
part at concealment is therefore useless.”’ (25)

FAST

एते वारिकणान्‌ किरन्ति पुरुषान्‌ वषन्ति नाम्भोधरा: |
शैलाः शाइलमुद्मन्ति न सृजन्त्येते पुनर्नायकान्‌ ॥

त्रेलोक्ये तखः फलानि gaa नेवारभन्ते TAT |

धात: कातरमालपामि कुलटाहेतोस्त्वया कि FAT ॥ २६ ॥

Kulata Nayika (the Immoral Nayika)
Nayika complains :

“These clouds rain drops of water; they do not rain men. These
mountains give birth to new plants but do not produce young men.

The trees of the three worlds bear various kinds of fruits but not

Nayakas. O God! I bemoan helplessly, for you have done nothing for
me.”’ (26)

9.1.

19 ANUSHAYANA-PRATHAMA NAYIKA (who is sad on account of her meeting place having been
destroyed)(27) ; Collection : Partap Museum, Srinagar.

अनुशयाना प्रथमा
समुपागतवति चेत्रे निपतति पत्र लवंगलतिकाया:।
सुदृशः कपोलपाली शिव शिव तालीदलद्युति AAT ॥ Vo Ul

Anushayana-Prathama Nayika (who is sad on account of her meeting place
having been destroyed)

The sweet-eyed Nayika turned pale like the leaves of a palmyra

tree when she learnt that the clove creepers, which grew at her trysting
place, had shed their leaves at the advent of the month of Chaitra. (27)

हद्वितीयानुशयाना

निद्रालुकेकिमिथुनानी कपोतपोत
व्याधुतनृतनमही रुहपललवा नि ॥

तत्रापि तन्वि! न वनानी कियन्ति सन्ति
खिद्यस्व न प्रियतमस्य गुहं प्रयाहि ॥ २८॥

Doitiyanushayana-Parakiya Nayika (who is sad on account of her future
meeting place having been destroyed)

A Sakhi consoles Nayika :

“O slender girl! Don’t be distressed ifthere are no longer any
forests of trees covered with tender leaves, shaken by young pigeons

and inhabited by drowsy Pairs of peacocks, Pray, go and meet your
beloved one in his house.” (28)

The Sakhi’s advice is sound and practical,

20 TRITIYANUSHAYANA-PARAKIYA NAYIKA (who is sad at being unable to reach the meeting place) (29);
Collection: Kasturbhai Lalbhai, Ahmedabad.

तृतीयानुशयाना
कर्णकल्पितरसालमंजरीपिंजरीकृतकपोलमण्डल: |
निष्पतनन्‍्नयनवारिधारया राधया मधुरिपुनिरीक्ष्यते ॥ २६ ॥

Tritiyanushayana-Parakiya Nayika (who is sad at being unable to reach
the meeting place)

Radha’s eyes were filled with tears (with remorse at not having
kept the tryst) when she saw Lord Krishna wearing mango blossoms
in his ears and his cheeks yellow with pollen (which was the proof of

his having been to the proposed meeting-place). (29)
37

मुदिता

गोष्ठेषु तिष्ठति पतिबंधिरा ननन्‍्दा
नेत्रद्ययस्य न हि पाटवमस्ति ara: ॥
इत्थंनिशम्य तरुणी कुचकुम्भसीम्नि
रोमांचकंचुकमुदंचितमाततान ॥ ३० ॥

Mudita-Parakiya Nayika (Nayika happy at the prospect of fruition of
love) (30)

On learning that her husband lived at the cowshed, that her
nanad* was deaf and deorani** blind, the young Nayika was excited with
joy and her bodice well-nigh burst by the pressure of her swelling
bosom.

*Husband’s sister.
**Wife of husband’s younger brother.

1 KanyAKka (unmarried Parakiya Nayika) (31); Collection: Dogra Art Gallery. Jammu.

HART
किचित्कुंचितहा रयष्टि सरलश्र्वल्लि साचिस्मित
| प्रान्तश्रान्तविलोचनद्युति भुजापय्येस्तकरणोत्पलम्‌ ॥
अंगुल्या स्फुरदंगुलीयकरुचा गण्डस्य BOAT
HAM THAR सुकृतिनं सव्याजमालोकते ॥ ३१ ॥

Kanyaka (unmarried Parakiya Nayika)

Her necklace swung to one side, her eye-brows straight, smiling

from a corner of her mouth, the radiance of her agitated eyes streaming

from the corners, and with the drooping lotus flower in her ear touch-

ing her arm, the Nayika is looking at some fortunate youth, while

pretending to scratch her cheek with a finger, adorned with a ring
studded with a glittering jewel. (31)

22 SAMANYA VANITA VASAKASAJJA NAYIKA (courtesan) (32); Collection: Kasturbhai Lalbhai, Ahmedabad.

सामान्य वनिता

सामान्य वनिता वासकसज्जा नायिका

इष्टवा प्रांगणगसन्निधों बहुधनं दातारमभ्यागत॑

वक्षोजो तनुत: परस्परमिवाइलेषं कुरंगीदृ॒श: ॥
आनन्दाश्रुपयांसि मुंचति मुहुर्मालामिषात्कुन्तलो

afte: faa धनागमं कथयितु कर्णान्तिकं गच्छति ॥ ३२॥

Samanya Vanita (Nayika who loves for the sake of money)

Seeing a rich man come near her house, the doe-eyed courtesan
is so happy and possessed by passion that her breasts seem to be
embracing each other. Her tresses are releasing tears of happiness in
the form of the flowers from the garlands decorating them, and her eyes

eager to tell the news of the advent of fortune are stretching to the
ears. (32)

23 Anya-SAMBHOGA DUKHITA NayIKA (33); Collection: Partap Museum, Srinagar.

ग्रन्य संभोगदुःखिता
त्वं दूति! निरगा: aot न तु पापीयसों गुहम्‌ ॥
किशुकाभरणं देहे दृश्यते कथमन्यथा ॥ ३३ ॥

Anya Sambhoga Dukhita Nayika (who is grieved at her beloved’s love for
another woman)

Nayika is scolding the messenger girl whom she had sent to call Nayaka :

“(0 girl! You do not seem to have gone to the house of my
wicked lover, but instead to the arbour; for otherwise, these ornaments
of red kinshuka flowers (or red nail-marks) would not have been seen
on your body.” (33)

Refers to nail-marks on the person of the messenger girl.

CHAPTER IV

Love in Separation
Pride and Obduracy, Garva and Mana
Mana is separation of lovers on account of jealousy, obduracy,
pride, impropriety of speech or conduct, or coldness. Mana may be
low (laghu), medium (madhyama), or high (guru).
A Nayika who is proud is called Garvita Nayika. The one who

is proud of her lover’s love for her is called Prem-Garvita. The one
who is proud of her beauty is called Rupa-Garvita.

24 Prem-GArvitA NAYIKA (who is proud of her lover's love for her) (34); Collection : Victoria and Albert
Museum, London.

प्रेमगाविता

वपुषि तव तनोति रत्नभूषां

प्रभुरिति धन्यतमा5सिकि ब्रवीमि |

सखि! तनुनयनानन्‍्तरालभीरु:

कलयति मे न विभूषणानि Brea: ॥ ३४॥

Prem-Garvita Nayika (who is proud of her 10ए275 love for her)
Nayika to Sakht :

“O Sakhi! I am unable to say how lucky you are, for your lover
adorns your body with jewel-studded ornaments. But my beloved,
afraid even of a slight interruption in his gazing at me, does not so
decorate me.” (34)

ig ae

४५ व = Rennes
OD VD

25 Rupa-Garvira (who is proud of her beauty) (35); Collection: Victoria and Albert Museum,
London.

रूपगविता

कलयति कमलोपमानमक्ष्णो:

प्रथयति वाचि सुधारसस्य साम्यम्‌ ॥
कथय सखि! किमाच रामि कानन्‍्ते
समजनि तत्र सहिष्णुतेव दोष: ॥ ३५॥

Rupa-Garvita (who is proud of her beauty)

Proud of her beauty, Nayika thus Speaks to her Sakhi :

“O Sakhi, how should I treat my lord who compares the beauty
of my eyes only with that of lotus flowers and the sweetness of my
speech only with that of nectar? Forbearance is my only fault.”’ (35)

26 LAGHU-MANa (Nayika’s low pride) (36); Collection: Dogra Art Gallery, Jammu.

लघु मान
स्वेदाम्बुभि: क्वचन पिच्छिलमेतदंगं

शोतोदरि! क्वचन कण्टकितं चकास्ति ॥

अन्यां विलोकयति भूषयति प्रियेडपि

मान: कक्‍्व दास्यति ce aa det fae: ॥ ३६ ॥

Laghu Mana (Nayika’s low pride)
Sakhi to Nayika :

“O slim-waisted beauty! On seeing your beloved adorning
another woman, your limbs moist with drops of perspiration appear
charmingly smooth. Where is room for your indignation?” (36)

मध्यम मान
यद्गोत्रस्खलनं तत्र भ्रमं यदि न Aaa ॥
रोमालिव्यालसंस्पर्श शपथं तन्वि! कारय ॥ ३७॥

Madhyama Mana (Nayika’s medium pride)
Nayaka to Nayika :

“0 slender girl! If on my uttering by mistake the name of
another woman, you do not regard your feeling as one of misconceived
suspicion, you should say this on oath by touching me with your
serpentine tresses.” (37)

27 Guru Mana (Nayika’s high pride) (38); Collection: Prof. J.K. Galbraith, Harvard University,
Cambridge, U.S.A.

गुरु मान

दयितस्य निरीक्ष्य भालदेशं
चरणालकत्तकपिजरं सपत्नया: ॥

सुददशों नयनस्यथ कोणाभासा
श्रुतिमुक्ता: शिखरोपमा बभूवु: ॥ ३८॥

Guru Mana (Nayika’s high pride)

Seeing her beloved’s forehead red with the colour of the paint
from another woman’s feet, the radiance of the corners of the eyes of
the sweet-eyed Nayika made the pearls in her ears red as rubies. (38)

The Nayika became very angry on detecting evidence of her lover’s unfaithfulness.

CHAPTER V

Proshita Bhartrika Nayika

Nayika whose lover or husband is away

Proshita Bhartrika Nayika is a Nayika whose lover or husband is
away. Such Nayika is classified into three categories, viz. Mugdha,

Madhya and Praudha. Other two categories are Parakiya and
Samanya.

pom ae |

28 MUGDHA PRosHITA-BHARTRIKA (Mugdha Nayika whose husband is away) (39); Collection ; A.K.
Coomaraswamy.

मुग्धा प्रोषितभत्‌ का

ga दीघंतरं वहन्त्यपि सखीवर्गाय नो भाषते
sara: Mad सूजन्त्यपि पुनः शेते न वा लज्जया ॥
कण्ठे गदगदवाचमंचति Ca धत्ते न बाष्पोदक
सन्‍्तापं ASA यदम्बुजमुखी TEAS चेतोभव: ॥ ३६ ॥

Mugdha Proshita-Bhartrika (Mugdha Nayika whose husband is away)

Though suffering the agony of separation for a long time, she
does not speak to her friends. Having made a bed of water-lilies, she
does not sleep on it out of modesty. Though her speech has been
choked with emotion—she is controlling her tears out of bashfulness.
Kamadeva alone knows the pains of separation suffered by the lotus-
faced Nayika. (39)

29. MADHYA PROsHITA-BHARTRIXA (Madhya Nayika whose husband is away) (40); Collection:
Dogra Art Gallery, Jammu.

मध्या प्रोषितभत्‌ का

वासस्तदेव वपुषो वलय॑ तदेव

हस्तस्य सेव जधनस्य च रत्नकांची ॥

वाचालभू WAT सुरभो समस्त-

मद्याधिक भवति ते सखि | कि निदानम्‌ ॥ ४० ॥

Madhya Proshita-Bhartrika (Madhya Nayika whose husband is away)
Nayika to Sakhi :

“O Sakhi! The garments on my body are the same; so are the
bracelets on my wrist and the be-jewelled girdle round my waist. But
in the springtime, made beautiful by noisy bumble-bees, all these things
are now unbearable for me. What is the cause of this?” (40)

30. PRAUDHA PROSHITA-BHARTRIKA (Praudha Nayika whose hustand is away) (41); Collection: Dogra
Art Gallery, Jammu.

प्रौढ़ा प्रोषितभत्‌ का

माला बालाम्बुजदलमयी मौक्तिकी हारयष्टि:
कांची याते प्रभवति हरौ qua: प्रस्थितेव ॥
mag ब्र्‌ म: किमिह धमनी aaa वा नवेति
ard Teles वलयं पाणिमूलं प्रयाति ॥ ४१॥

Praudha Proshita- Bharirika (Praudha Nayika whose husband is away)

With the departure of her Lord Krishna, the Nayika (who has
beautiful eye-brows) has discarded her garland of lotus-petals, her
necklace of pearls and her girdle. Not only that, her armlet has

reached her wrist as if to feel her pulse.* (41)
*This is suggestive of the Nayika’s pining away.

परकोया प्रोषितभत्‌ का

waa: Tana ददाति तदपि श्रूसंज्ञया गृह्मते

सद्यो मर्म रशंकया न तु तया संस्पृश्यते पाणिना |
यातुर्वाचि सुहृद्गणस्य वचसि प्रत्युत्तरं दीयते!

इवासः किन्तु न मृच्यते हुतवहक्र: कुरंगीहशा ॥ ४२ ॥

Parakwa Proshita-Bhartrika (Parakiya whose lover is away)

The deer-eyed Nayika accepts, with the movement of her eye-
brows, the lotus leaves offered by her mother-in-law; she does not
touch them with her hand for fear of producing the crackling sound of
dry leaves. She replies to the questions of her sister-in-law and Sakhis,

but (for fear of discovery) does not give out her breath, which is
blazing like fire. (42)

31 SAMANYA PROSHITA-BHARTRIKA (Courtesan whose lover is away) (43); Collection: Kasturbhai Lalbhai,
Ahmedabad.

सामान्‍्या प्रोषितभत्‌ का
विरहविदितमन्तः: प्रेम विज्ञाय ara:

garcia वसु तस्मादेत्य मे दास्यतीति |
मरिचनिचयमक्ष्णोन्येस्य बाष्पोदबिन्दून्‌
विसृजति पुरयोषिद्‌ द्वारदेशोपविष्टा ॥ ४३ ॥

Samanya Proshita-Bhartrika (Courtesan whose lover is away)

Sitting at the door of her house, the courtesan sheds tears from
her eyes by applying chilli-powder with the intention that her lover, on
returning from the distant country and coming to know of her heart-
felt love born of separation, will give money to her. (43)

CHAPTER VI

Khandita Nayika

Nayika who has been wronged

Khandita is the Nayika who has been wronged by her lover or
husband. Bhanudatta classifies the Khandita into five categories.
The first three are Mugdha, Madhya and Praudha. The next two are
Parakiya and Samanya.

32. MucGpHa KuHANpitA (Mugdha Nayika who has been wronged) (44); Collection: National Museum,
New Delhi.

मुग्धा खंडिता
aa: fay कलशां कितमिति किमपि प्रष्टुमिच्छन्त्या: |
नयन॑ नवोढसुद्ृश: प्राणेश: पाणिना पिदघे we ॥

Mugdha Khandita (Mugdha Nayika who has been wronged)
As the newly married, beautiful-eyed Nayika wished to ask her

lord regarding the imprint of kumkum from another woman’s bosom on
his chest, he covered her eyes with his hands. (44)

Heat खंडिता

वक्षोजचिह्लितमुरो दयितस्य वीक्ष्य

दीर्घ न fazeafafa जल्पति aa किचित्‌ ॥
प्रातजलेन वदनं परिमाजंयन्ती

बाला विलोचनजलानि तिरोदधाति ॥ ४५॥

Madhya Khandita (Madhya Nayika who has been wronged)

In the morning, seeing the chest of her lord spotted with kumkum
marks from the other woman’s bosom, the Nayika neither heaves deep
sighs nor admonishes him. She washes her face with water, thus con-
cealing her tears. (45)

sitet खंडिता

मामुद्वीक्ष्य विपक्षपक्ष्मलद्शः पादाम्बुजालक्तके-
रालिप्ताननमानतीकृतमुखी चित्रापितेवाभवत्‌

eal नींक्तवती न वा कृतवती निशश्वासकोष्णे zal
प्रातमंगलमंगना करतलादादशंमादर्शयत्‌ ॥ ४६ ॥

Praudha Khandita (Praudha Nayika who has been wronged)
Guilty husband to his friend :

“Seeing in the morning my face coloured with the red paint of
the other woman’s feet, my wife cast her face down and remained still
as a painted picture. She did not utter harsh words, not did she let
her eyes become inflamed with anger. Instead of holding the mirror
in the palm of her hand, she put it in front of me.’ (46)

परकोया खंडिता

ard निरीक्ष्य वलयांकितकण्ठदेशं
मुक्तास्तया परभिया परुषा न ATA: |
दूतीमुखे मृगहशा स्खलदम्बुपूरा

दूरात्परं निदधिरे नयनान्तपाता: ॥ ४७ ॥

Parakiya Khandita (Parakiya Nayika who has been wronged)

Seeing the imprint of another woman’s bracelets on her lover’s
neck, the Nayika did not speak harsh words, out of fear of discovery
by other people. From a distance she hesitatingly cast a side glance
on the messenger girl through flooding tears. (47)

33, SaMANYA KHANDITA (Courtesan who has been wronged) (48); Collection: Kasturbhai Lalbhai,
Ahmedabad.

सामान्या खंडिता

उरस्तव पयोधरांकितमिद कुतो मे क्षमा

ततो मयि निधीयतां ag पुरा यदंगीकृतम्‌।

इति प्रचलचेतस: प्रियतमस्य वारस्त्रिया
ववणत्कनककंकण्ण करतलात्‌ समाकृष्यते ॥ ४८ II

Samanya Khandita (Courtesan who has been wronged)

“O Cheat! How can you be excused by me when I see your chest
bearing red marks of some woman’s bosom? Give unto me, therefore,
the riches you had previously promised.”

So saying, the courtesan snatched the jingling bangle of gold
from the hand of the lover, whose mind was wavering. (48)

CHAPTER VII

The Nayika Estranged by a
Quarrel

Kalahantarita

The Nayika estranged from her lover by a quarrel is called
Kalahantarita. Bhanudatta divided Kalahantarita into five categories.
The first three are based on age and experience, viz. Mugdha,
Madhya and Praudha. The next two categories are Parakiya and
Samanya.

34, MuGpHA KALAHANTARITA (Mugdha Nayika estranged by a quarrel) (49); Collection: Dogra Art Gallery,
Jammu.

Wat कलहांतरिता

अनुनयति पति न लज्जमाना

कथयति नापि सखीजनाय किचित्‌ |
प्रसरति मलयानिले नवोढा

वहति परन्तु चिराय eave: ॥ ४६ ॥

Mugdha Kalahantarita (Mugdha Nayika estranged by a quarrel)

Out of modesty, the newly-wedded Nayika does not appease her
husband, nor does she say anything to her friends. But when the
Malaya* breeze blows, she feels an emptiness within. (49)

*Name of a southern mountain, covered with sandal forests.

मध्या कलहांतरिता

विरमति कथन विना न खदः

सति कथने समुपति का$पि लज्जा |
इति कलहमधोमुखी सखीभ्यो
लपितुमनालपितुं समाचकांक्ष ॥ ५० ॥

Madhya Kalahantarita (Madhya Nayika estranged by a quarrel)

Without telling her Sakhis about her quarrel with her lord, the
Nayika cannot relieve her misery; but her formidable modesty prevents
her. Thus, wanting to express herself and yet not to express herself
before her friends, she stays with her face downcast. (50)

35.

PRAUDHA KALAHANTARITA (Praudha Nayika estranged by a quarrel) (51); Collection: Dogra Ari Gallery,
Jammu.

ater कलहांतरिता

ग्रकरो: fea नेत्र! शोणिमानं
किमकार्षी: कर पद्मतजंनं वा |

कलहं किमधा मुधा tas!

हितमर्थ न विदन्ति दवद्धष्टा: ॥ ५१॥

Praudha Kalahantarita (Praudha Nayika estranged by a quarrel)

Nayika ts repenting for her show of anger to Nayaka after the latter had
apologised to appease her:

“O eyes! It was in vain that you became red (with anger).
O hand! Why did you threaten to assault him with the lotus-stalk?
O tongue! Why did you utter quarrelsome words? Indeed, those who
are in bad luck, cannot judge their own interest.” (51)

The Nayika repents for her harsh treatment of the lover who is shown in the painting departing
in a dejected mood,

36. PARAKIYA KALAHANTARITA (Parakiya Nayika estranged by a quarrel) (52); Collection: Dogra Art
Gallery, Jammu.

परकीया कलहांतरिता

भर्तुयस्य FF गुरुघुलरभूद्‌ गोष्ठी कनिष्ठीकृता

ay कोशधनं गतं सहचरी नीति: SAT दूरत: |

निर्मुवता तृणवत्त्रपा परिचिता स्रोतस्विनी बिन्दुवत्‌

a क्रोधादवधीरितो हतधिया मातबंलीयान विधि: | ५२ ॥

Parakiya Kalahantarita (Parakiya Nayika estranged by a quarrel)

“In anger I insulted and disappointed my love for whose sake
once I belittled elders, ignored assemblages of people, gave up all
patience, deserted my companions, discarded modesty considering it
worthless like straw, and took the mightly river as a mere drop of
water. O, mother! My reason was blighted, for fate is all powerful.” (52)

‘eise-ro esata ERNE अर 2स0 काका RESON TREO IRE PASE
Sai ey ee ee ee Re Pegi ek corte
00220" eerie ie iene erred 07277: शक

37. SAMANYA KALAHANTARITA (Courtesan estranged by a quarrel) (53); Collection: Dogra Art Gallery,
Jammu,

सामान्या कलहांतरिता

यत्पंकेरहलक्ष्म पाणिकमल भाग्यालये यद्‌ गुरु-

न्येस्तं व मम यलललाटफलके भाग्याक्षरं वेधसा |

तत्सर्व सखि! यो यथार्थमकरोत्तस्मिन्‌ प्रकोप: कृतो

धिक्‌ मां धिक्‌ मम जीवितं घिगतनुं धिक्‌ चेष्टितं घिग्वयः ॥ ५३ ॥

Samanya Kalahantarita (Courtesan estranged by a quarrel)
Nayika to Sakhi

“O Sakhi, there is a sign of lotus in my palm; Jupiter dominates
the house of fortune in my horoscope and good luck has been written by
God on my forehead. All these auspicious signs had fructified through
my lover. Yetupon him I let loose my temper. Cursed is my life, my)
love, my conduct and my youth.” (53) Li

CHAPTER VIII

The Neglected Nayika

Vipralabdha

The Nayika who is neglected by her lover is called Vipralabdha.
Bhanudatta classifies Vipralabdha into five classes. The first three are
by age and experience, viz. Mugdha, Madhya and Praudha. The next
two are in relation to their lovers, viz. Parakiya and Samanya.

38 MucGpHaA VIPRALABDHA (the neglected Mugdha Nayika) (54); Collection: Dogra Art Gallery,
Jammu

मुग्धा विप्रलब्धा

आलीभि: शपथरनेककपटे: कुंजोदरं नीतया

aa तच्च निरीक्ष्य विक्षुभितया न प्रस्थितं न स्थितम्‌ ।
न्यस्ता: किन्तु नवोढनीरजद्ृ॒शा BATHS रुषा
ताम्यद्भू गकदम्बडम्बर चमत्का रस्पृशो दृष्टय: ॥ ५४ II

Mugdha Vipralabdha (the neglected Mugdha Nayika)

The new, lotus-eyed bride was taken to the bower by her Sakhis
with trickery. Seeing it empty, her mind was stricken with agitation
and she could neither stay nor leave the place. In this bewilderment,
her indignant gaze fell on the marvel of the expansive Kadamba grove,
full of frustrated bees, beyond the bower. (54)

Regt विप्रलब्धा

संकेतकेलिगुहमेत्य fatter शुन्य-
मेणीहशो निभृतनिश्वसिताधराया: |
अर्घाक्षरं वचनमर्ध विका सि नेत्र
ताम्बूलमधकवलीकृतमेव TEA MW ५५॥

Madhya Vipralabdha (the neglected Madhya Nayika)

When the doe-eyed Nayika reached the lover’s tryst and did not
find him, there was an unuttered sigh on her lip, her speech to the
Sakhi was a mere half-spoken word, her eyes remained half-open, and
in her trance she could not chew the betel leaf.* (55)

*Lit. she could make a half morsel of the betel leaf.

sitet विप्र लब्धा

yea कुंजगुहं निरीक्ष्य कुटिलं विज्ञाय चेतोभवं

gat नापि निवेदिता सहचरी पृष्टाईपि नो वा तया।
शम्भो! शंकर! चन्द्रशेखर! हर! श्रीकण्ठ! घूलिन्‌! शिव!
त्रायस्वेति परन्तु पंकजद्शा WAT aH स्तुति:॥ ५६ ॥

Praudha Vipralabdha (the neglected Praudha Nayika)

Not finding her lord in the bower, and knowing Kamadeva’s
villainy, the lotus-eyed lady made no request to the messenger girl, nor
did she say anything to her Sakhi; instead, she began praying to Lord
Shiva to save her from Kama.* (56)

*Shiva was the destroyer of Kama.

39 PARAKIYA VIPRALABDHA (the neglected Nayika) (57); Collection : Dogra Art Gallery,
Jammu

परकीया विप्रलब्धा

दत्त्वा धेयंभुजंगमूध्नि चरणावुल्लंध्य लज्जानदी-

मंगीकृत्य खलान्धका रपटल aca न दृष्ट: प्रिय: |
सनन्‍्तापाकुलया तया5थ Thea: पाथोधरे गजंति

क्रोधाक्रान्तकृतान्तमत्तमहिषश्रान्त्या ZA योजिते ॥ ५७ ॥

Parakiya Vipralabdha (the neglected Parakiya Nayika)

The slim Nayika, trampling with her feet the head of the serpent
of patience and crossing the river of modesty, thrust her way in dark-
ness to love’s tryst. When she did not find her lover there, she was
heart-broken. The thundering black clouds overhead appeared to her
like the roaring angry buffalo of Yama (the King of Death). (57)

a
CYL,
EC ESS ५
Jal -
RCE

;

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हे

yy
~

=
a

NCL EL.

40 SAMANYA VIPRALABDHA (the neglected courtesan) (58); Collection: Dogra Art Gallery, Jammu

सामानन्‍्या विप्रलब्धा

कपटवचनभाजा केनचिद्वा रयोषा
सकलरसिकगोष्टीवंचिक्रा वचिताउसौ |

इति विहसति fray गविक्षिप्तचक्षु-
विकचकुसुमकान्तिच्छद्मना केलिकुंज: ॥ ५८॥

Samanya Vipralabdha (the neglected courtesan)

Though adept in beguiling the entire lot of her lovers, the courte-
san has herself been deceived (this time) by some one with the trickery
of false words (of a promise to meet at the appointed place).

The bower, as if looking around with restless bees as its eyes,
seems to be laughing at the Nayika through its full-blown flowers. (58)

CHAPTER IX

T | ° °
The Yearning Nayika
Utka
Utka is the Nayika who yearns for her lover. Utka is divided,
firstly into three categories according to age and experience, viz.

Mugdhotka, Madhyotka and Praudhotka. The next two categories of
Utka are in relation to their lovers, viz. Parakiya and Samanya.

41 MucpuortKa (the yearning Mugdha Nayika) (59); Collection: Kasturbhai Lalbhai, Ahmedabad

मुग्धोत्का

यन्‍्नाद्यापि समागत: प्रिय इति प्राय: प्रपेदे परा-

मित्थं Safa चिन्तयन्त्यपि सखीं न ब्रीडया प्रुच्छति |
दीघे न श्वसितं दधाति चकित न प्रेक्षते केवल
किचित्पक्वपलाण्डुपांडु रच धत्ते कपोलस्थलीम्‌ ॥ ५६ ॥

Mugdhotka (the yearning Mugdha Nayika)

Her lover not having come to her, the Nayika, though suspecting
that he frequently visits another woman, does not, out of modesty, ex-
press herself to her Sakhi, nor heaves deep sighs, nor looks agitated;
only her cheeks have turned somewhat pale.* (59)

*Lit. pale like an onion

42 MapuyorkKa (the yearning Madhya Nayika) (60); Collection: Kasturbhai Lalbhai, Ahmedabad

मध्योत्का

आनेतुं न गता fag प्रियसखी? भीतो भुजंगात्किमु?

क्रद्धो वा प्रतिबेधवाचि प्राणेश्वरो aaa |

इत्थं कर्णसुवर्णकेतक रज पातोपघातच्छला-

दक्ष्णो: को5पि नवोढनी रजमुखी बाष्पोदक Aalst ॥ ६० ॥

Madhyotka (the yearning Madhya Nayika)

“Did my dear Sakhi not go to call him; or has he been frightened
by snakes (on the way); or has he felt indignant on my having refused
his advances towards me?” Thus contemplating, the Nayika, with her
face like a newly-blown lotus, sheds tears, pretending pain in her eyes

as if caused by the falling pollen-grains from the yellow kelaki flowers _
worn in her ears. (60) orn मै

43 PrauDHOTKA (the yearning Praudha Nayika) (61); Collection: Kasturbhai Lalbhai, Ahmedabad

प्रोढोत्का

भ्रा्तनिकु ज! सखी यूथि! रसाल बन्धों!
मातस्तमस्विनि! पितस्तिमिर! प्रसीद ।
पुच्छामि किचिदिति नीरधराभिरामों
दामोदरः कथय कि न समाजगाम ॥ ६१ ॥

Praudhotka (the yearning Praudha Nayika)

In spite of the promise, Krishna did not reach the love tryst. So Radha asks the

trees elc.

“O brotherly bower; O friendly jasmine; O affectionate mango
trees; O motherly dark night; O paternal darkness. Be pleased to
tell me, for I ask you, why Lord Krishna bewitching as the clouds—has

not come.” (61)

os t+.

3 tote | <n mag आकर

43 PARAKiyA UTKA (the yearning Parakiya Nayika) (62); Collection: Kasturbhai Lalbhai, Ahmedabad

परकीया उत्का

tara वारिदवारिभिविचितो वासो घने कानने

पुष्पेश्चन्दन बिन्दुभिर्म नसिजो देव: समाराधित: |

नीता जागरणब्रतेन रजनी ater Far दक्षिणा

तप्तं कि न तपस्तथापि स कथ॑ नाद्यापि नेत्रातिथि: ॥ ६२ ॥

Paraktya Utka (the yearning Parakiya Nayika)

I drenched myself in the rain, dwelt in the dense forest, worship-
ped the god Kama with sandal paste and flowers, passed a sleepless
night and gave up may bashfulness. What penance have I not done?
And still, my Lord does not gratify my eyes with his presence. (62)

45 SAMANYA Urka (the yearning courtesan) (63); Collection: Kasturbhai Lalbhai, Ahmedabad

सामान्या उत्का

कथं न Ba: समुपैति क्‌ ज-

मित्थं fat चेतसि चिन्तयन्ती
अ्रस्नावयन्निष्पतदश्रुधा रा

वारांगना कोउपि धनाभिलाषातू ॥ ६३ ॥

Samanya Utka (the yearning courtesan)

Wondering for a long time why her lover did not come to the
bower, the Nayika, stricken with her desire for money, sheds tears. (63)

ie.

CHAPTER X

Nayika Waiting for Her Lover
with Bed Prepared

The Vasakasajja

The Vasakasajja is the Nayika, who waits for her lover with bed
prepared. Vasakasajja is divided into three categories according to age
and experience, viz. Mugdha, Madhya and Praudha. In the 67th
doha Bhanudatta states Praudha Vasakasajja’s desire. The next two
categories are Parakiya and Samanya.

46 MuGpHA VASAKAsayJA (Mugdha Nayika waiting and preparing herself for the lover) (64); Collection:
Dogra Art Gallery, Jammu

AAT वासकसज्जा

art गुम्फति पारका5तिरुचिर ग्रथनाति कांचीलतां
aq न्यस्यति किन्तु तत्र age eae न दत्ते पुनः ।
ग्रालीनामिति वासकस्य रजनौ कामानुरूपां कियां
साचिस्मेरमुखी नवोढसुमुखी दूरात्मुद्रीक्षते ॥ ६४ ॥

Mugdha Vasakasajja (Mugdha Nayika waiting and preparing herself for
the lover)

The pretty newly-wedded Nayika, with her smiling face, watches
from a distance the preparations, befitting lover’s desires, of the sleep-
ing chamber, being made by her Sakhis. While one of them is busy
making a pearl necklace shining like stars, another is fashioning a
creeper-like girdle, and yet another lighting a lamp having put in it
only a little oil. (64)

47 MADHYA VasAKasAyA (Madhya Nayika preparing herself for the lover) (65); Collection: Lahore
Museum, Lahore

मध्या वासकसज्जा

fared दशयितुं करोति कुतुकात्‌ कत्हारहारस्रजं

चित्रप्रेक्षण कंतवेन किमपि द्वारं समुद्रीक्षते ।
गृहणात्याभरणं C4 सहचरीभूषाजिगीषामिषा-

दित्थं पद्महश: प्रतीत्य चरितं स्मेराननो5भूत्स्मर: ॥ ६५ ॥

Madhya Vasakasajja (Madhya Nayika waiting and preparing herself for
the lover)

Eager to show her art, the Nayika prepares a garland of beautiful
Kalhara* flowers. She looks, with a slanting glance, at the door on the
pretext of looking at the paintings thereon. Pretending to excel her
Sakhis she wears new ornaments. Thus seeing the behaviour of the
lotus-eyed Nayika, Kamadeva was pleased. (65)

*A kind of white lily.

48 PRAUDHA VASAKASAJJA (Praudha Nayika waiting and preparing herself for the lover) (66); Collection:
Dogra Art Gallery, Jammu

प्रोढ़्ा वासकसज्जा

कृतं वपुषि भूषणं चिकुरधोरणी घूपिता

BM शयनसब्निधौ क्रमुकवी टिका सम्भूति: |
ग्रकारि हरिणीह॒शा भवनमेत्य देहत्विषा
स्फुरत्कनककेतकीकुसुमकान्तिभिद दिनम्‌ ॥ ६६ ॥

Praudha Vasakasajja (Praudha Nayika waiting and preparing herself
for the lover)

The deer-eyed Nayika adorned herself with flowers and orna-
ments, scented her curly hair and put betel leaves beside her bed. Her
fair body bedecked with gold and ketaki flowers lighted up the chamber.
(66) |

49 PRAUDHA VASAKASAJJA’s desire (67); Collection: Kasturbhai Lalbhai, Ahmedabad

मनोरथ
आवयोरंगयोद्देते भूयो विरहविप्लव: ॥

अ्रवद्ेते च स्मितस्फीतं न स्यादन्योउन्यवीक्षणम्‌ ॥ ६७ ॥
Praudha Vasakasajja’s destre

When distance parts our bodies, there is great agony of separation;

when there is union there is no chance of relishing the sweet sight of
each other’s smiling faces. (67)

है 5 4282888 aa
PGR VE ALS FEE I Se IR 5६ २२४८८ ८, UCT K GCSES RRS
छाकाशाक्राताशाताक्षालाहाछाशाह पाए

30 PARAKIYA VASAKASAJJA (Parakiya Nayika waiting and preparing herself for the lover) (68);
Collection: Chandigarh Museum, Chandigarh

परकीया वासकसज्जा

इवश्रं स्‍्वापयति च्छलेन च तिरोधत्ते प्रदीपांकुरं

धत्ते सौधकपोतपोतनिनदः सांकेतिक चेष्टितम्‌ |

aaa विवर्तितांगलिक लोलत्कपोलयुति

ववापि sari urge प्रियधिया तल्पान्तिकेन्यस्यति ॥ ६८॥

Parakiya Vasakasajja (Parakiya Nayika waiting and preparing herself
for the lover)

By sweet trickery she puts her mother-in-law to sleep, covers the
flame of the lamp, and by producing sound like the cooing of pet
doves, makes a sign to her lover to come. She rolls her creeper-like
body on the bed, while the radiance of her lovely cheeks is increasing
(with excitement). Now and then she stretches out her lotus-like hands
as if to hold her lover, thinking that perhaps he is close. (68)

51 SAMANYA VASAKASAJJA (Courtesan waiting and preparing herself for the lover) (69); Collection: Dogra
Art Gallery, Jammu

AAA वासकसज्जा

aa नीलनिचोलकपषंणविधौ चूडामणि चुम्बने
याचिष्ये कुचयो: करापंणविधौ कांची पुन: कांचनीम्‌ |
इत्थंचन्दनचर्चितैमृ गमदरंगानि संस्कुव॑ति

तत्कि यन्‍न मनोरथं वितनुते वारेषु वारांगना ॥ ६९

Samanya Vasakasaya (the courtesan waiting and making preparation to
receive her lover)

Longings of a prostitute who prepares herself to receive her lover:

‘When my lover cajoles me to remove the upper garment, I shall
ask for a saree; when he kisses me I shall demand jewels for my_ hair;
and on his touching my bosom, I shall request for a golden girdle.”
Thus contemplating, the Nayika scents herself with musk and _ sandal-

paste and cherishes every desire for the moment of union with her
lover. (69)

CHAPTER XI

The Loyally Loved

Svadhina-patika

The Nayika who is loyally loved by her lover is called Svadhina-
patika. According to age and experience, Svadhina-patika is divided
into three categories, viz. Mugdha, Madhya and Praudha, The next
two categories are Parakiya and Samanya.

arat स्वाधीनपतकिा

मध्ये न क्रशिमा स्तने a गरिमा az न वा कान्तिमा

aint न प्रथिमा गतौ न जडिमा नेत्रे न वा वक्रिमा |
area न द्रढिमा न वाचि पटिमा area a वा स्फीतिमा
प्राणेशस्य तथाति मज्जति मनो AVA कि कारणम्‌ ॥ ७० ॥

Mugdha Svadhina-patika (Mugdha Nayika who is loyally loved)
Nayika to Sakhi:

“My waist is not slim; my bosom is not youthful; my body is not
lustrous; my hips are narrow, my gait is without languor; my gaze is
not artful; my dancing isimmature; my speech is without wit; and my
laughter is not vivid. How, then, O Sakhi, does my Lord dote on me
alone?” (70)

ia ht er aero २०० कुक

352 MADHYA SVADHINA-PATIKA (Madhya Nayika who is loyally loved) (71); Collection: Dogra Art
Gallery, Jammu

मध्या स्वाधीनपतिका

यदपि रतिमहोत्सवे नकारो

यदपि करेण च नीविधारणानि |
प्रियसखि! पतिरेष पाइवंदेशं

तदपि न मुंचति तत्किमाचरामि ॥ ७१॥

Madhya Svadhina-patika (Madhya Nayika who is loyally loved)
Nayika to Sakhi:

“Though I refuse his amorous advances and do not surrender my
modesty, yet my sweetheart does not give up close proximity of me.
What shall I do, then, O Sakhi?” (71)

53 PRAUDHA SVADHINA-PATIKA (Praudha Nayika who is loyally loved) (72); Collection: Dogra Art Gallery,
Jammu

ster स्वाधीनपतिका

वक्त्रस्याधरपल्लवस्य वचसो हास्यस्य AACA वा
धन्यानामरविन्दसुन्दरहृ॒शां कान्तस्तनोति स्तुतिम्‌ |

स्वपनेनाषि न गच्छति श्रुतिपर्थ चेत: पर्थ हृक्‍्पथ॑

काउप्यन्या दयितस्य मे सखि! कथं तस्यास्तु भेएग्रह: ॥७२ ॥

Praudha Svadhina-paltka (Praudha Nayika who is loyally loved)
Nayika to Sakhi:

“Lucky, indeed, are those lotus-eyed beauties whose lovers
admire their faces, leaf-like lips, speech, laughter and dancing skill.
But, how can my beloved compare me with another woman, for he has
not seen, heard or thought of one, even in dream?” (72)

ity
~ पा
1%

Es
~

a «०. कह ऑफ 43 tt Ba छढ.
| aa =

54 PARAKIYA SVADHINA-PATIKA (Parakiya Nayika who is loyally loved) (73); Collection: Dogra Art

Gallery, Jammu

परकीया स्वाधीनपतिका

स्वीयाः aft ye Je मृगहशों यासां विलासक्वणत्‌-
कांघोकुण्डलहे मकंकणभणत्कारो न विश्राम्यति |

को हेतु: ? सखि ! कानने पुरपथे सौधे सखीसन्निधो
आम्यंती मम वल्लभस्य परितो efter मां मुंचति ॥ ७३ ॥

Parakiya Svadhina-patika (Parakiya Nayika who is loyally loved)
Nayika to Sakhi:

“O Sakhi, how is it that my lover’s gaze—wandering in all direc-

tions and seeking me in the forest, on the street, in the house and in
the company of Sakhis—-chases me unceasingly, although there are
beautiful deer-eyed damsels in every house, whose girdles, ear-rings
and golden bracelets constantly make rhythmic sound by their move-
ments.” (73)

35 SAMANYA SVADHINA-PATIKA (Courtesan who is loyally loved) (74); Collection: Dogra Art
Gallery, Jammu

सामान्या स्वाधीनपतिका

wag प्रतिमन्दिरं युवतयों यासां सुधासागर-

स्रोत: स्यृतसरोजसुन्दरचमत्कारा दशो विश्रमा:।

चित्र किन्तु विचिरन्मथकला वशद्यहेतो: पुन-

fad बितहरं प्रयच्छति युका मययेव कि कारणम्‌ ॥ ७४ I

Samanya Svadhina-patika (courtesan who is loyally loved)
Nayika to Sakhi:

“O Sakhi, there are, in every house, young damsels, the tremulous
gaze of whose eyes has the radiant beauty of lotuses growing in streams
emerging from the sea of nectar, this beauty having been caused by the
manifestation of wondrous arts of love. But, it is strange that the young
lover gives away his wealth only to me.” (74)

CHAPTER XII

Nayika Who Goes out to Seek
Her Lover
Abhisarika

Abhisarika is the Nayika who goes out to meet her lover. Accord-
ing to her age and experience she is divided into three categories, viz.
Mugdha, Madhya and Praudha. Further, she may be Parakiya and
Samanya. There are further three categories, viz. a Nayika may go to
meet her lover in a dark night, in moonlight or in daytime.

56 MuGpuHa ABHISARIKA (Mugdha Nayika who goes out to seek her lover) (75); Collection
A.K. Coomaraswamy

मुग्धा अभिसारिका

gat विद्युतदुपागता सहजरी रात्रि: सहस्थायिनी

देवज्ञों दिशति स्वनेन aaa: प्रस्थानवेलां शुभाम्‌ |

ara मांगलिकीं तनोति तिमिरस्तोमो5पि झिल्ली रवे-
जातो5यं दयिताभिसारसमयो मुम्धे विमुंच त्रपाम्‌ ॥ ७५ ॥

Mugdha Abhisarika (Mugdha Nayika who goes out to seek her lover )
Sakht to bashful Naytka:

“O my young friend! Lightning, like a messenger, brings an
invitation for you; the night, like a companion, is your guide; the cloud,
like an astrologer, is predicting with its thunder this auspicious moment
of departure; the engulfing darkness of the night is, as if, reciting
benedictions through the chirping of crickets.

“Give up your bashfulness, for this is the proper time for you to
go out and meet your sweetheart.” (75)

57 MADHYA ABHISARIKA (Madhya Nayika who goes out to seek her lover) (76); Collection: Dogra Art
Gallery, Jammu

मध्या अभिसारिका

भीताउसि नेव भूजगात्पथि मद्भुजस्य

संगे ga: कमपि कम्पमुरीकरोषि |
अम्भोधरध्वनिभिरक्षुभिताउसि तन्वि |
मद्गवाचि साचिवादनाउसि किमाचरामि ॥ ७६॥

Madhya Abhisarika (Madhya Nayika who goes out to seek her lover )

“O my slender beauty, you, whom even the snakes could not frighten
on the way, now tremble at the mere touch of my arm. The thundering
clouds could not shake you, and yet you turn your face away at a mere
word of love. What am I to do?” (76)

58 PrAuDHA ABHISARIKA (Praudha Nayika who goes out to seek her lover) (77); Collection: Dogra
Art Gallery, Jammu.

प्रोढ़ा अभिसारिका
स्फुरदुरसिजभा रभंगुरांगी किसलयकोमलकान्तिना पदेन ।
wa कथय FY सहेत aed ae a frag AANA रयः स्यात्‌ ॥ ७७ ॥

Praudha-Abhisarika (Praudha Nayika who goes out to seek her lover)

How could the Nayika who is burdened with the weight of her
swelling bosom, whose tender feet have the soft lustre of new leaves,
bear to go out in the night to meet her sweetheart, unless it were with
the help of the chariot of her longings? (77)

ata ty

So
os

59 PARAKIYA ABHISARIKA (Parakiya Nayika who goes out to seek her lover) (78); Collection: Dogra Art
Gallery, Jammu.

परकोया अ्भिसारिकां
सभसादभिसत मुद्यतानां

वरितानां सखि ! वारिदो विवस्वान्‌ |
रजनी दिवसो5न्धका रमर्चि-

fafad वेदम विमार्ग एवं मार्ग: ॥ ७८ ॥

Parakiya Abhisarika (Parakiya Nayika who goes out to seek her lover)

“Sakhi! For maidens who are ready to set out with eagerness to
meet their sweetheart, even the clouds are like the sun, the night as day,
darkness as light, the forest as their own home and pathless wilderness

a smooth passage.” (78)

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i

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60 JyorsNA ABHISARIKA (Nayika who goes out to seek her lover on a moonlit night) (79) Collection:
National Museum, New Delhi

ज्योत्स्ना अभिसारिका
चन्द्रोदये चन्दनमंगकेषु विहस्य विनस्य विनि्गंताया: ।
मनो निहन्तुं मदनोनपि बाणान्‌ करेण कौन्दान्‌ विभराम्बभूव ॥ ७६ ॥

Jyvotsna Abhisarika (Nayika who goes out to seek her lover on a moonlit
night)

Having decorated her body with sandal-paste, the lady, with a
beaming face, set out in the moonlight to meet her lover. Kamadeva,
too, took up the arrows of jasmine flowers to pierce her heart. (79)

afaart अभिसारिका
नाम्बुजेन कुमुदेरुपमेयं स्वेरिणीजनविलोचनयुग्मम्‌ |
नोदये दिनकरस्य नवेन्दो: केवले तमसि aca विकास: ॥ co ॥

Tamisra Abhisarika (Nayika who goes out to seek her lover on a dark
night)

As the eyes of abhisarikas bloom only at night, they cannot be
compared with lotus-flowers, which bloom at sunrise; nor with the lilies
which open at moonrise. (80)

दिवसाभिसारिका

पललीनामधिपस्य पंकजह॒शां पर्वोत्सवामन्त्रण

जाते सदमजना मिथःकृतमहो त्साहं पुर: प्रस्थिता: |
सव्याजं स्थितयोविहस्य गतयोः बुद्धान्तमश्रान्रे

यूनो: स्विन्नकपोलयोजियते कोःप्येष FIA: ॥ ८५१॥

Diwwasabhisarika (Nayika who goes out to seek her lover during daytime)

The householders eagerly set out, on the invitation of the village-
headman, to the festival of young women. Meanwhile, the young pair
stayed back on a false pretext and smilingly entered the inner chamber.
There, while their cheeks were moist with perspiration, they tasted the
ecstasy of warm embraces. (81)

61 SAMANYA ABHISARIKA (Courtesan who goes out to seek her lover) (82); Collection: Dogra Art Gallery,
Jammu.

सामानन्‍्या अभिसारिका

लोलच्चोलोचमत्क़ृति प्रविलसत्कांचीलता भंकृति
न्यंचत्कंचुकवन्धु रचलद्वक्षो ADEA AT ।

स्फूर्जद्ीधिति चलच्चामीकरालंकृति

क्रीडाकंजगुहं प्रयाति क्रतिन: कस्यापि वारांगना ॥ ८२॥

Samanya Abhisarika (Courtesan who goes out to seek her lover)

Her shining upper garment is fluttering; her charming girdle is
tinkling; her full bosom is heaving on the tightly fastened string of her
bodice; her gold ornaments are dangling; and with her brisk gait, she
is spreading her charm in all directions.

Thus goes the Nayika to meet her lucky beloved in his bower.

(82)
96

CHAPTER XIII

Nayika Anticipating Separation

Pravatsyat-patika Nayika

Pravatsyat-patika is the Nayika who anticipates separation from
her lover. She may be Mugdha, Madhya or Praudha according to her
age and experience. Further she may be Parakiya or Samanya.

प्रवत्स्यत्पतिका

प्रस्थानंवलये: क्ृतं प्रियसखे रख wa at

घ॒त्या न क्षणमासितं व्यवसितं बुद्धया5पि at पुर ।

यातुं निश्चितचेतसि प्रियतमे सर्वेसमं प्रस्थिता

गन्तव्ये सति जीवित ! प्रियसुद्वत्साथ्थ: किमु त्यज्यते ॥ ८३ ॥

Pravatsyat-patika Nayika (Nayika anticipating separation)
Nayika to herself within Nayaka’s hearing:

“Hearing of the decision of my beloved to depart, my bracelets
have left my hands, and my tears are trickling down constantly. My
patience has refused to stay even for a moment, and my senses have
departed, too, ahead of others. Oh my life, why do you remain
behind giving up your friends, who have departed.” (83)

मुग्धा प्रवत्स्यत्पतिका

प्राणेश्वरे किमपि जल्पति निर्गमाय
क्षामोदरी वदनमानमयांचकार |

आली पुननिभृतमेत्य लतानिकुंज-
मुन्मत्तत्तकोकिलकलध्वनिमाततान ॥ ८४ i

Mugdha Pravatsyat-patika (Mugdha N ayika anticipating separation)

On her Lord mumbling something about his proposed departure,
the slender-waisted Nayika cast her face down. Thereupon, her Sakhi

slipped stealthily into the bower of creepers and produced sweet notes
like those of an infatuated cuckoo. (84)

This isto remind the Nayaka of the advent of sprin

g season, a time not appropriate for
departure.

62 MADHYA PRAVATSYAT-PATIKA (Madhya Nayika anticipating separation) (85); Collection: Kasturbhai
Lalbhai, Ahmedabad

मध्या प्रवत्स्यत्पतिका

wet प्रिये वदति निरश्वसितं दीघे-

मासीनन वा नयनयोजंलमाविरासीत्‌
आयुलिपि पठितुमेणह॒श: परन्तु

भालस्थलीं किमु कच: समुपाजगाम ॥ ८५॥

Madhya Pravatsyat-patika (Madhya Nayika anticipating separation)

When the lover told the doe-eyed Nayika about his departure,
she neither heaved a sigh, nor dropped a tear from her eyes. A lock
of her curls crept on her forehead, as if to read in its lines the remain-
ing span of her life (i-e. she fainted). (85)

प्रौढा प्रवत्स्यत्पतिका

wa मु चति सुश्रवामपि तनुत्याग वियोगज्वर

tale विहितांजलियंदुपते ! पृच्छामि सत्यं वद |
ताम्बुल HAA पटीरमुदक aq बन्धुभिर्दीयते

स्यादत्रे परत्र तत्किमु विषज्वालावलीदुस्सहम्‌ ॥ ८६ ॥

Praudha Pravatsyat-patika (Praudha Nayika anticipating separation)
Nayika to Nayaka:

“O Lord of the Yadus*! the fever of separation will not leave the
(love-stricken) maidens even after their death. I, therefore, pray to
you, with folded hands, to tell me truthfully whether the betel leaves,
flowers and sandal-paste, offered to departed souls by their dear ones,
produce the same unbearable flames of passion in the other world, as
they do in this world.”** (86)

*Krishna.
**In the event of separation.

100

63 PARAKIYA PRAVATSYAT-PATIKA (Parakiya anticipating separation) ($7); Collection: Dogra Art Gallery,
Jammu

परकीया प्रवत्स्यत्पतिका

ara पन्‍नगमूहिन पादयुगलं भक्तिविमुक्ता गुरो-
स्त्यक्ता नीतिरकारि कि न भवतो हेतोमंया दुष्कृतम्‌ ॥
अंगानां शतयातना नयनयो: को5पि क्रमो Te:
कुम्भीपाकपराभवश्च मनसो gad ala प्रस्थिते ॥ se ॥

Parakiya Pravatsyat-patika (Parakiya anticipating separation)

Nayika to Nayaka

“T have trodden on the heads of snakes, disobeyed my elders and
given up all discretion. What sins have I not committed, for your sake?
Now, after your departure, it will be just for my eyes, body and soul to
suffer the tortures of Raurava, Kumbhipaka and other hells.’’ (87)

101

सामान्‍्या प्रवत्स्यत्पतिका

मुद्रां प्रदेहि वलयाय भवद्वियोंग-
मासाद्य यास्यति बहि: agar यदेतत्‌ |
इत्थं निगद्य विगलन्नाम्बुधारा
वारांगना प्रितमं करयोबंभार ॥ ८८ ॥

Samanya Pravatsyat-patika (Courtesan anticipating separation)

“O dear! In your separation, my bracelets will become loose (on
my thinned arms) and drop away; so, please give me your ring to wear
in place of the bracelets.’’ So saying, the courtesan filled her eyes with
tears and held her lover with both hands. (88)

CHAPTER XIV

Another Classification of Nayikas

Uttama, Madhyama, Adhama

There is another classification of Nayikas according to their
reaction to their lover’s character. Uttama is the Nayika who treats
her lover well, though he is blame-worthy. Madhyama is the Nayika,
who, though loving, reviles her lover. Adhama is the Nayika who
insults her lover and she is reviled by her Sakhi.

103

SAAT

पतिश्शयनमागत: कुचविचित्रितो रस्थल:ः
प्रसन्‍नवचनामृतेरयमतर्पि वाश्रुमवा |

अ्रचचि सुभगस्मितद्युतिपटी रपंकद्रवे-

रपूजि विलसद्विलचनचमत्कृतेरम्बुजे: ॥ ८६ ॥

Uttama (Nayika who treats her lover well in spite of his blameworthi-
ness)

When her husband entered her chamber bearing on his chest the
imprints of another woman’s bosom, the gentle Nayika—gifted with
beautiful eyebrows— offered him the nectar of sweet words, cooled him
with the sandal-paste of radiant smiles and worshipped him with the
lotus flowers of her brightly dancing eyes. (89)

104

64 MapuyaMaA (Nayika who, though loving, reviles her lover for his lapses) (90); Collection: Dogra Art
Gallery, Jammu

सध्यमा

ara सागसि कंचुकस्पृशि तया साचीक्ृतग्रीवया
मुवता: कोपकृषायमन्मथशरक्र्रा: कटाक्षांकुरा: |

APA दरहासकेसरवचोमाधवीकधारालसा

प्रीति: कल्पलतेव काचन महादानीकता TAT tl ६० ॥

Madhyama (Nayika who, though loving, reviles her lover for his lapses)

When the lover gently touched her bodice, the beautiful-eyed
Nayika, turning away her neck, shot on him piercing glances, fierce
like the red-hot arrows of angry Kama. But on his pacifying her, she
presented him with her love enriched with soft smiles and sweet words,
as if her love were the Kalpalata* drooping with the weight of flowers
laden with honey. (90)

*Kalpalata : Mythical wish-granting creeper.

105

65 ADHAMA (Nayika who, though loved, insults her lover) (91); Collection: Kasturbhai Lalbhai,
Ahmedabad

अधमा

प्रस्थाने तव यः करोति कमलच्छायां मुखाम्भोरुहे
श्रीखण्डद्रवधा रया शिशिरया मार्ग पुर: सिंचति ।

तस्मिन्‌ प्रेयसि विद्रुमद्रवनदी रिगत्तरंग भ्रमि-
अआन्तक्लान्तसरोजपत्रसदृशा भूयों दशा क्रध्यसि ॥ ६२॥

Adhama (Nayika who, though loved, insults her lover)
Sakhi to Nayika

“With your eyes resembling a pair of faded lotuses circling in the
whirlpool of the agitated waves of the coral river, you express your
annoyance to your (doting) sweetheart, who, during your journeys, has
always protected your lotus-like face (from the heat of the sun) by
providing shade with lotus leaves (held by him over your face), and
sprinkled cooling sandal water in your path.”’ (91)

106

CHAPTER XV

Sakhis

Female Friends of the Nayika and their functions

Sakhis are the female friends of the Nayika. Bhanudatta thus
describes their functions. They decorate her body. They reproach the
Nayaka for his coldness towards the Nayika, even when the monsoon
season is delightful for love encounters. She gives instructions to Nayika
how to meet her lover. She jests with her. She arranges stratagems for
uniting the lovers.

107

66 MANnDANA (decoration of Nayika by Sakhi) (92); Collection: Kasturbhai Lalbhai, Ahmedabad

मंडन
स्तनकनक्रमहीधरोपकण्ठे प्रियकरपल्लवमुल्लसत्प्रमोदम्‌ |
रहसि मकरिकामिषाल्लिखन्तीं कमलमुखी कमले: सखीं जघान॥ ६२ II

Mandana (decoration of Nayika by Sakhi)
In the lonely chamber of her house, the lotus-faced lady reproa-

chingly hit her Sakhi, who, on the pretext of painting a fish beneath

her fair elevated bosom, has made a picture of the hands of her over-
joyed lover. (92)

108

67 UPALAMBHA (reproachful complaint by Sakhi) (93); Collection: Dogra Art Gallery, Jammu

उपालम्भ

सान्द्रध्वानर्मुख रितदिशइश्रेणयस्तोयदानां
धारासारेवरणिवलयं स्वत: प्लावयन्ति |

aa cag वहति faga मत्सखी युक्तमेव

त्वं नि.स्नेहो यदसि तदिदं नाथ ! में विस्मयाय ॥ ६३ tl

Upalambha (reproachful complaint by Sakhi to Nayaka)

“The thunder of clouds is resounding in all directions, and the
rolling clouds are flooding the earth all around with incessant rain. So,
it is befitting for my sakhi to entertain a deep feeling of love. But, my
lord, I am surprised that you are so cold.” (93)

109

68 SHrksHa (instruction by Sakhi) (94); Collection: Kasturbhai Lalbhai, Ahmedabad

शिक्षा

सानन्गमालि ! वनमालिविलोकनाय
निर्गच्छ कुंजमिति किन्तु विचारयेथा: |
waren मधुलिहो दिवसे भ्रमन्ति

रात्रों पुनशचपलचंचुपुटाइचकौरा: ॥ ६४ ॥

Shiksha (instruction by Sakhi)

Sakhi to Nayika

“My friend, you may gladly proceed to the bower to see Krishna,
but be careful of the humming bees hovering there during day-time,
and of the chakoras* roaming at night, with their garrulous beaks.” (94)

The implicit meaning is that, Owing to the presence of these insects and birds, which are
symbols of scandal-mongers, there is fear of disclosure,

*Chakoras— Moon partridges

110

69 SAKHIKRITA PARIHASA (jesting by Sakhi) (95); Collection: Dogra Art Gallery, Jammu

सखीकृत परिहास

आ्रागारभित्ति लिखितासु निवेदयस्व

क: सप्तमो दशसु मूरतिषु लोकभतु : |
इत्थं सखीजनवच: fava aa:

सीता स्मितद्युतिभिरुतरयांचकार ॥ ६५॥

Sakhikrita Parihasa (jesting by Sakhi)

““O, Sita! name the seventh,” said the Sakhi, pointing to the ten
paintings on the wall of the chamber, depicting the incarnations of
God. Sita looked up and smiled. The smile on her face was the
answer. (95)

Rama is the seventh incarnation of Vishnu and a wife never utters the name of her husband,

1.11

प्रियकृत परिहास

भूसंज्ञया5ददिशसि तन्वि ! सखीं न वाग्भि-
रित्थं विहस्य मुखेरिणि भाषामाणे |

राधा चिराय दशनत्रणदुयमान-

बिम्बाधरा वदनमानमयांचकार ॥ €६॥

Priyakrita Parthasa (jesting by Nayaka)

“() slender girl! Why do you converse with your Sakhi through
the movement of your eyebrows and not by word of mouth?”

On being spoken to like this jocularly by Krishna, Radha, whose
bimba-like lower lip —having been bitten—was smarting, remained for
a long time with her face downcast. (96)

प्रियाकृत परिहास

दिव्यं वारि Ha, aa: सुरधुनी मौलौ कथं पावको

दिव्यं, तद्धि विलोचनं, कथमहिदिव्यं a ait aa |

तस्माद्‌ द्यूतविधो त्वयाउद्य मुषितो हार: परित्यज्यता-

मित्थं शेलभुवा विहस्य afta: शम्भु: शिवायास्तु व: eo

Priyakrita Parihasa (jesting by Nayika)

“Surrender unto me my necklace, which you have today stolen
during our game of dice. (It isno use denying the theft) I cannot
accept your swearing by the holy Ganges, which you carry on your
head, nor your swearing by the holy fire which you hold in your eyes,
nor your swearing by the snakes which you wear on your body.”

Thus spoke Parvati to Lord Shiva and smiled. May this bless
all. (97)

संघट्टन
अंचति निरुदंचति तिमिरमदं चंचति wary: |
उक्त न त्यज युक्त विरचय cad मनस्तस्मिन्‌ ॥ es

Sanghattana (messenger girl’s device to unite lovers)
Duti to Nayika:
“Night is approaching, darkness is growing and Kama is becom-

ing restless. Pray, don’t disregard my opportune advice and let your
soul relish the love of your lord.” (98)

112

70 VIRAHANIVEDANA (narration of the pain of separation by messenger-girl) (99); Collection: Dogra
Art Gallery, Jammu

विरहनिवेदन

चक्रे चन्द्रमुखी प्रदीपषकलिका धात्रा धरामण्डले

तस्या देववशाहशा5पि चरमा प्रायः समुन्मीलति |

तद्‌ an: शिरसा aaa सहसा श्रीकृष्ण ! निक्षिप्यतां
स्नेहस्तत्र तथा यथा न भवति त्रेलोक्यमन्वं TA: ॥ CE ॥

Virahanivedana (narration of the pain of separation by the messenger-
girl)
Sakhi describing to Nayaka Nayika’s condition in separation:

“God created the moon-faced Radha like a flame of light for this
earth. As ill luck would have it, this flame is dying out and before its
end is bursting into a flare. O Krishna, we therefore request you, with

all humility, to revitalize this flame immediately with your love,* so
that the three worlds are not immersed in darkness.” (99)

*There is a pun on the word ‘Sneha’ which means both ‘love’ and ‘oil’.

113

CHAPTER XVI

Nayaka

Nayaka is the lover or husband. The Nayaka is classified by
Bhanudatta into seventeen categories. When Nayaka is the husband,
he is called Pati. When the Nayaka is devoted only to his wife he is
called Anukula. When a Nayaka has a number of wives and he loves
them equally, he is called Dakshina. Evil type of Nayakas are divided
into two categories, viz. Dhrishta, the shameless, and Shatha, the rake.
The Nayaka who loves another’s wife is called Upapati. The Nayaka
who is in love with a courtesan is called Vaishika. A Vaishika is divided
into two categories, 1.९. Uttama and Madhyama. A rake is designated
as Adhama Vaishika. A Nayaka who is proud is called Mani. Then
come two categories of Nayakas who are clever. The one who is
clever in speech is called Vaka Chatura, and the one who is clever in
deed is called Cheshta Chatura. When the Nayaka is separated from
his sweet-heart he is called Proshitapati. The Upapati in separation
from his beloved is called Proshita Upapati. The Vaishika Nayaka
separated from his beloved is Proshita Vaishika. The Nayaka who is
ignorant of the ways of love is called Abhasa.

114

पति

ca पीयूषमयूख ! मुंच शिशिरस्निग्धान्सुधाशीकरान्‌

त्वं भोगीन्द्र ! विलम्बसे fay फणाभोगे: arate |

त्वं स्वर्वाहिनि ! किच faa सलिलरंग: शिरीषोपमे:

सेयं शेलसुता कठोरमहसः कान्त्या पथि क्लाम्यति ॥ १००॥

Pati (Nayaka, the husband)
Shiva seeing Parvati exhausted addresses the moon etc.:

“OQ moon! Shower your cooling nectar drops on her; O King
Cobra, please do not delay but fan gentle breezes unto her with your
out-spread hood! O Ganga! moisten with your waters the shirish-like
limbs of Parvati, who is withering on the footpath in the oppressive
heat of the sun.”’ (100)

115

425०८: IP A ese ai ai ores

71 ANUKULA Nayaka (Nayaka devoted only to his wife) (101); Collection: Bharat Kala
Bhavan, Banaras

अनुकूल नायक

पृथ्वि ! त्वं भव कोमला दिनमणे ! त्वं शैत्यमंगी Fe

त्वं वत्मंन्‌ ! लघुतां प्रयाहि पवन ! त्वं खेदमुत्सारय |
सान्निध्यं श्रय दण्डकावन ! गिरे ! निगंच्छ मार्गद्िहि:
सीताउसौ विपिनं मया सह यतो निग्गन्तुमुत्कण्ठते ॥ १०१॥

Anukula Nayaka (Nayaka devoted only to his wife)

Imagining the hazards Sita would encounter, while accompanying him to the
forest, Lord Rama prays to the Earth, etc.:

“O Earth, become soft; O sun, assume coolness; O footpath make
yourself short; O breeze, relieve her fatigue; O Dandaka forest, come
near; O mountain, remove yourself from our way, for Sita is desirous
of accompanying me to the forest.” (101)

116

दक्षिण नायक

एतत्पुर: स्फुरति पद्मदृ॒शां सहस्र-

मक्षिद्यं कथय कुत्र निवेशयामि ।
इत्याकलयूय नयना म्बुरुहे निमील्य
रोमांचितेन agar स्थितमच्युतेन ॥ १०२ ॥

Dakshina Nayaka (Nayaka equally devoted to all his wives)

“O friend, thousands of lotus-eyed girls are present before me.
On whom should I fix my eyes?”

Having spoken thus, Krishna closed his eyes and experienced the
thrill of romance. (102)

धृष्ट नायक
agi हारे: करकमलबयोर्द्रारतो वारितो5पि

TAIT ज्ञात्वा पुनरुपगतो STAT दत्तदृष्टि:।

तल्पोपान्ते कनकवलयं भ्रष्टमन्वेषयन्त्या

दृष्टो धृष्ट:, TACT मया पाइव एव प्रसुप्त:॥ १०३॥

Dhrishta Nayaka (Nayaka the shameless husband)
Nayika to Sakhi:

“In spite of having been forbidden by me at the door previously
when he had come up to me with his hands tied together with pearl-
necklaces, my shameless husband approached me again, after some
time, seeing me from a distance and finding me asleep. When I got up
to look for my gold bracelet which had dropped near the bed, I found
him asleep beside me.” (103)

117

72 SHATHA Nayaka (Nayaka the rakish and hypocritical husband) (104); Collection: Museum of
Fine Arts, Boston

WS नायक

मौलौ दाम विधाय भालफलके व्यालिख्य पत्रावली

केयूरे भुजयोनिधाय कुचयोविन्यस्य मुक्तास्रजम्‌ |
विश्वासं समुपाजयन्‌ मृगह्वश: कांचीनिवेशच्छला-
न्‍नीवीग्रन्थिमपाक रोति मृदुना STAT वामश्रुव:॥ १०४॥

Shatha Nayaka (Nayaka the rakish and hypocritical husband)
Sakhi to another Sakhi:

“The cunning lover won the confidence of his doe-eyed nayika
by decorating her braid with garlands, painting floral designs on her
forehead with sandal-paste, putting armlets on her upper arms, and by
placing a necklace of pearls on her bosom. Winning the confidence of
the fawn-eyed lady he slyly loosens the knot of her skirt, with his soft
hand, on the pretext of touching her girdle.” (104)

118

73. Upapati (Nayaka loving another’s wife) (105); Collection: Museum of Fine Arts, Boston

उपपति

sary खलितेन यत्र नयनप्रान्तेन न प्रेक्ष्यते

केयू रध्वनिभूरिभी तिचकित॑ नो aa वा55हिलष्यते |

नो वा aa शने रलग्नदशनं बिम्बाधर: पीयते

नो ar aa विधीयते च मणितं तत्किरतं कामिनो: ॥ १०५॥

Upapati (Nayaka loving another’s wife)

Sakhi describing the secret loves of Upapati:

“Fear of detection does not permit the eager lovers’ gaze to meet.
Scared of the jingling sound of the armlets, they desist from embracing.
They kiss each other’s lips without the contact of their teeth. Their

union is hushed, too.

“Such a love is indeed void of joy.” (105)
119

वेशिक

कांचीकलकवणितकोमलनाभिकान्ति
पारावतध्वनितचित्रितकण्ठपा लिम्‌ ॥
उद्भ्रान्तलोचनचको रमनंग रंग-

माशास्महे कमपि वारविलासवत्या: ॥ १०६ ॥

Vaishika (Nayaka in love with a courtesan)
Nayaka to himself or to a friend:

“T long for the revelry of love in the company of a courtesan,
whose girdle tinkles, whose navel is delicately beautiful, whose painted
neck is resonant with pigeon-like notes and whose eyes are tremulous

like chakoras.’’ (106)

उत्तम वेशिक

चक्षु:प्रान्तमुदीक्ष्य पक्ष्मलहश: शोणा रविन्दश्रिय
नोच्चजंल्पति, न feat वितनुते, गुक्लाति वीटीं न वा ।
तल्पोपान्तमृपेत्य किन्तु पुलकस्फूर्जत्कपोलद्युति:

Bra: केवलमानतेन शिरसा मुक्तास्रजं गुम्फति ॥ १०७ I

Utiama Vaishika

Observing the colour of a red lotus within the long eye-lashes of
his beloved’s eyes, the lover neither speaks aloud, nor smiles, nor
accepts the betel-leaf. Instead, having gone near her bed—his cheeks
glowing with excitement—he sits with down-cast head, preparing a
necklace of gems for her. (107)

120

मध्यम वेशिक

area यद्यपि हास्यवर्जितमिदं areata वीतं वचो

नेत्र शोणसरोजकान्ति तदपि ववापि aot स्थीयताम्‌ |
मालाया: करणोद्यमो मकरिका रम्भ: कुचाम्भोजयो-
FT: कुन्तलधो रणीषु FEA: AAA हृ्यते ॥ १०८॥

Madhyama Vaishika
Advice of a friend to Nayaka:

“There is no expression of smile on her face, there is no sweet
song on her tongue, and her eyes have assumed the colour of a red
lotus. However, you should stay away somewhere for some time, as the
sweet-eyed dame seems to be preparing garlands, beautifying her
bosom with paint and scenting her braid for the evening.”’ (108)

121

74 ADHAMA VAISHIKA (Nayaka the rake) (109); Collection: Museum of Fine Arts, Boston

अधम वेशिक

उदयति हृदि यस्य नव लज्जा,

न च करुणा, न च को5पि भी तिलेश: |
वकुलमुकुलकोशकोमलां मां

पुनरपि TEA करे न यातयेथा: ॥ १०६ ॥

Adhama Vaishika (Nayaka the rake)
Nayika to Sakhi:

“O Sakhi, I am tender like a bud of maulshri.* Pray do not leave
me to suffer in the hands of that rake, in whose heart there is no shame,
nor pity, nor a trace of fear.’’ (109)

*Maulshri—Mimusops elengi, a tree with fragrant flowers.

122

75 Mani (the proud Nayaka) (110); Collection: Museum of Fine Arts, Boston

मानी

बाह्याकृतपरायणं तव वचो वज्रोपमेयं AA:

श्रुव्वा वाचमिमामपास्य विनयं व्याजाद बहि: प्रस्थिते ।
प्रार्वीतविलोकने परिहृतालापे विवृत्तानने

प्राणशे निपतन्ति seat कृपणा वामश्रुवों दृष्टय:॥ ११० ॥

Mani (the proud Nayaka)

Having heard his beloved woman’s remark, alleging that while
his speech was adept in superficial meaning, his heart was comparable
to stone, the (indignant) Nayaka discarding all humility prepared to
depart, on some pretext. He rejected her solicitations, avoided looking
at her, shunned conversation and turned his face away, while —
alas—his sweet-heart, with her beautiful eyebrows, looked at him

helplessly. (110)
123

AE,

|
|

76 ५७६५७ CHATURA (Nayaka clever in speech) (111); Collection: National Museum, New Delhi

वाक चतुर

तमोजटाले हरिदन्तराले काले निशायास्तव faa: |
ae नदीनां निकटे वनानां घटेत शातोदरि ! कः सहाय: ॥ १११॥

Vaka Chatura (Nayaka clever in speech)

Nayaka to Naytka:

“After you have set out at a time of the night, when the long
tresses of darkness are, as if, pervading all space, who will be your pro-

tector—O slender-waisted girl—on the bank of the stream near the
woods?” (111)

124

५. a a a ee a ee

rs Ps
gape
1

111-11.11-11-॥

77 Cuesta Cuatura (Nayaka clever in deed) (112); Collection: Museum of Fine Arts, Boston

चेष्टा चतुर
ara कनकजम्बीरं करे किमपि gata |
आगारलिखिते भानौ बिन्दुमिन्दुमुखी ददो ॥ ११२ ॥

Cheshta Chatura (Nayaka clever in deed)

When the lover holds in his hand the golden lime fruit, the moon-
faced Nayika puts a dot on the sun painted on the wall. (112)

n’s bosom,-and a dot on the painted sun of sunset.

The lime fruit is suggestive of a woma
dicates her

Nayaka’s action conveys his invitation to a secret meeting, while Nayika’s action in
consent to meet after sunset.

125

t
boven

78 Prosuirapati (Husband in separation) (113); Collection: Victoria and Albert Museum,
London

प्रोषितपति

ऊरू रम्भा, दृगपि कमलं TAA केशपाशो,

वक्र चन्द्रो, लपितममृतं, मध्यदेशों मृणालम्‌

नाभि: eat, वलिरपि सरित्‌, पल्‍लव: fra पाणि-

Fear: सा चेदुरसि, न कथं SA तापस्य शान्ति: ॥ ११३ ॥

Proshitapati (Husband in separation )
Nayaka’s plaint:

‘ “My sweet-heart, whose thighs are like plantains, eyes like lotus,
locks of hair like Saivala, face like the moon, speech like nectar, waist
like a lotus-stalk, navel like a pit, fold in the belly like a stream, and
hands like leaves—dwells in my heart. Alas, there is still no abate-
ment of the fever of my heart.”’ (113)

126

79 PROSHITA UpApaATi (Upapati in separation) (114); Collection: National Museum of
Pakistan, Karachi

प्रोषित उपपति

यान्त्या: सर: सलिलकेलिकुतृहलाय
व्याजादुपेत्य मयि वत्मनि वतंमाने |

अन्त: स्मितद्युति चमत्कृतदृक्त रंगे-

रंगीकृत किमपि वामहृश: स्मरामि ॥ ११४॥

Proshita Upapati (Upapati in separation)

Nayaka to himself:

“IT remember how she had accepted my unspoken request with
her surprised sidelong glance lit up as if by an inner smile, when I had
approached the path of the sweet-eyed damsel and stood there, ona
pretence, while she was going to the pool for the pleasure of playing in
water.” (114)

127

प्रोषित वेशिक
अधृतपरिपतन्निचो लबन्धं मुषितनकारमवक्रद्दष्टिपातन्‌ ।
प्रकटहसितमुन्नतास्यबिम्बं पुरसुद्दश: स्मरचेष्टितं स्मरामि ॥ ११५॥

Proshita Vaishika (Vaishika in separation)
Nayaka to himself:

“1 remember the amorous desire of the sweet-eyed courtesan, who
did not hold up her loosened upper garment, who did not utter any
words of refusal, whose gaze was frank, whose laughter was manifest,
and whose face was turned up towards me.”’ (115)

आभास नायक

शन्‍्ये सदमनि योजिता बहुविधा भंगी aa fasta
पुष्पव्याजमुपेत्य निगंतमथ स्फारीकृता दृष्टय: ।
ताम्बूलाहरणच्छलेन विहितौ व्यक्त च वक्षोरुहा-

वेतेनापि न वेत्ति दृति ! कियता acta स ज्ञास्यति ॥ ११६॥

Abhasa Nayaka (the ignorant Nayaka)
Nayika to Sakhi:

“In many ways I dropped hints to him in the uninhabited house.
We went into the unfrequented forest, on the pretext of picking flowers,
and came out. I gazed at him with wide-open eyes. While accepting
the betel-leaf from him, I revealed to him my bosom.

“O girl, in spite of these hints he did not understand. How else
will he know?” (116)

128

CHAPTER XVII

Sakhas— Nayaka’s Friends

The Sakhas are Nayaka’s friends. A Sakha who appeases the
indignant Nayika is called Pithamarda. A Sakha who is adept in
love-lore is called Vita. A Nayaka’s friend, who, with his cleverness,
brings about the meeting of the lovers, is called Cheta Sakha. A
Nayaka’s friend who plays tricks on the lovers is called Vidushaka
Sakha, or clown.

129

पोठमर्द सखा

sist कोपविधि: ? प्रयच्छ करुणागर्भ॑ वचो, जायतां
पीयूषद्रवदी घिकापरिमल रामोदिनी मेदिनी ।

आ्स्तां वा स्पृहयालुलोचनमिदं व्यावर्तयन्ती मुहु-

येस्‍्मे कुप्यसि तस्य सुन्दरी | तपोवृन्दानि वन्दामहे ॥ ११७ I

Pithamarda Sakha (Nayaka’s friend who appeases indignant Nayika)
Nayaka’s friend to Nayika:

“Strange is the way in which you show your indignation. Please
speak sweet words, so that the whole earth may feel joyous as if with
fragrant nectar. You should look at him with desirous eyes; for he,
on whom you express your anger, is worthy of our adoration for his
profuse devotion.” (117)

faz सखा

आयात: कुमुदेश्वरो, विजयते सर्वश्वरो मारुतो,

भू गः स्फूर्जति भरवो न fase प्राणेश्वरों मुंचति।

ua सिद्ध रसा: प्रसूनविशिखो वंद्योउनवद्योत्सवो

मानव्याधिरसौ कृशोदरि | कथं त्वच्चेतसि स्थास्यति ॥ ११८ ॥

Vita Sakha (Nayaka’s friend who is adept in love-lore)
Nayaka’s friend to indignant Naytka:

“OQ slender beauty! The moon has arisen, life-giving breeze is
blowing with all resplendence; the fierce bees are humming; your
sweet-heart, too, does not give up proximity; and Kamadeva, whose
festivities are beyond reproach, has also arrived.

“How can your pride, which is like a disease, stay in the presence
of these sure remedies?” (118)

The Sanskrit words used in the text for “the moon”, “breeze” etc. namely kumudeshvara,
sarveshvara, bhairava and praneshvara—are also names of famous Ayurvedic medicines.

130

az सखा

सा चन्द्रसुन्दरमुखी स च नन्दसूनु-
देवान्निकुजभवनं समुपाजगाम |
श्रत्रान्तरे सहचरस्तरणौ कठोरे
पानीयपानकपटेन सर: प्रतस्थे ॥ ११६ ॥

Cheta Sakha (Nayaka’s friend, who, with his cleverness, brings about
the meeting of the lovers)

It so happened that the moon-faced beauty (Radha) and the son
of Nanda (Krishna) reached the bower, at the same time. Meanwhile,
the sun having become oppressive, Krishna’s friend set out towards the
pool, on the pretence of drinking water. (119)

80 VIDUSHAKA SAKHA (Nayaka’s friend, the clown) (120); Collection: Victoria and Albert
Museum, London

विदृषक सखा

arta नीरजमुखीं शयनोपकण्ठ-
मुत्कण्ठितो5स्मि कुचकंचुकमोचनाय |
अत्रान्तरे मुहुरकारि विदूषकेण
प्रातस्तनस्तरुणकुक्कुटकण्ठनाद: ॥ १२० ॥

Vidushaka Sakha (Nayaka’s friend, the clown)
Nayaka to friend:

“Having coaxed my lotus-faced girl to come near the couch, I
eagerly prepared to loosen her bodice. Meanwhile, the clown, my
friend, repeatedly crowed like a young rooster, as if heralding the
dawn.” (120)

139

CHAPTER XVIII

Love in Separation

The manifestation of a mental state through the face, eyes and
speech is Bhava. Sattvika Bhava is involuntary expression of emotions.
The Nayika suddenly sees the Nayaka on the highway. Her mental
state is described by Bhanudatta in doha 121.

When desire for union is not fulfilled, according to Bhanudatta
nine conditions result therefrom. These are Abhilasha (desire), Chinta
(anxiety), Smriti (reminiscence), Guna Kirtana (recalling the qualities
of the beloved), Udvega (agitation), Utkantha (longing), Unmada
(frenzy), Vyadhi (sickness), and Jadata (stupor).

Later rhetoricians like Keshav Das add a tenth one, Marana
(death). Thus according to Keshav Das there are ten states of love in
separation (Dasa Dashas).

In between Sattvika Bhava and the nine states of love in separa-
tion, Bhanudatta interposes a poetic description of Sambhoga (union)
and Vipralambha (separation). No illustrations of these two have
come to our notice.

133

सात्विक भाव

भेदो वाचि, इशोज लं, कुचतटे स्वेद:, प्रकम्पो5धरे,
पाण्डुगेण्डतटी, वपु: पुलकितं, लीनं मनस्तिष्ठति |

grace नयनश्रियरच रणयो: स्तम्भ: समुज्जम्भते,

तत्कि 'राजपथे' निजामधरणीपालो5यमालोकित: ॥ १२१॥

Sativika Bhava (involuntary expression of emotions)
Sakhi to Naytka:

“There is interruption in your speech, water in your eyes, perspi-
ration on your bosom, tremor on your lips, and pallor on your neck.
Your body is horripilated and your mind is engrossed. Languor is
becoming manifest in your eyes and numbness in your feet. Is it so
because you have seen the lover on the highway?” (121)

सम्भोग

वियति विलोलति aa:

स्खलति fageaafa कुजति कपोत: |
निष्पतति तारकातति-

रान्दोलति वीचिरमरवाहिन्या: ॥ १२२॥

Sambhoga (union)

Clouds are floating in the sky and the moon is, as if, coursing
haltingly. The pigeon is cooing; the cluster of stars is dropping down
and the lustre of the heavenly Ganges is tremulous. (122)

The above figurative description of the lovers’ union refers to the locks of Nayika’s hair
floating on her back, the expression of hesitation on her moon-like face, her sweet moaning, the
dropping away of the pearl-necklace and the beauty of the moving fold of her belly.

134

Victoria and Albert Museum, London

81 VipRALAMBHA (separation) (123); Collection:

विप्रलम्भ

MEAT नवजलघरे त्वत्पथं द्रष्टुकामा:

प्राणा: पंकेरहदलद्॒श: कण्ठदेशं प्रयान्ति |

mag fe वा aa qafad द्रष्टुमुड्डीय ad

वक्ष: Tat सृजति बिसिनीपल्‍्लवस्य च्छलिन ॥ 223 ॥

Vipralambha (separation)
Sakht to Nayaka:

“The lotus-eyed maiden is desirous of watching your footpath.
With the appearance of new clouds, her heart goes as if into her throat

to choke it.
“Wishing to go flying so as to see your moon-like face, her heart

is, as if, growing wings in the form of lotus leaves.
“What else shall I say?’’ (123)

135

अभिलाषा
seni सुतनुसरस्यां चेतो नयनं च तिष्पतितम्‌ |
चेतो गुरु तु निमग्नं लघुनयनं AAT wafa ॥ १२४ tl

Abhilasha (desire)
Nayaka to friend:

“The beauty of that slender girl is like a pool, into which my
heart and my eyes have dropped. The heart, being heavy, has
been completely submerged; the eyes, being light, are floating all
round.” (124)

चिता
मया विधेयो मुहुरद्य तस्मिन्‌ कुंजोपकंठे कलकण्ठनादः:
राघा मधोविश्रममावहन्ती कुर्वीत नेत्रोत्पलतो रणानि ॥ १२५॥

Chinta (anxiety)

When Radha heard in the bower yonder the notes of a cuckoo,

creating the illusion of spring-time, her lotus-like eyes bore the sem-
blance of arched gateway. (125)

136

82 Smriti (reminiscence) (126); Collection: Victoria and Albert Museum, London

स्मृति

रामो लक्ष्मणदीघंदु:ख चकितो नाविष्करोति व्यथां

इवासं नोष्णतरं जहाति सलिलं धत्ते न वा चक्षुषि |
वातावतंविवरतमानदहनक्र्ररनंगज्वरे:

क्षाम: किन्तु विदेहराजतनयां भूय: FATT वर्तते ॥ १२६॥

Smriti (reminiscence)
After Sita’s stealing by Ravana:

“Fearing lest the agony of Lakshmana should increase, Rama
neither expresses his own pain, nor heaves hot sighs, nor lets his eyes
be filled with tears. Pining away in the fever of love, which burns
like a fierce fire fanned by a strong wind, he remembers Sita conti-

nuously.” (126)
137

गुण BATA
TTT: स्तनतटस्पर्शों वीक्षणं वकत्रवीक्षणम्‌ ।
TAT: केलिकलालापसमय: समय: सखे ॥ १२७ ॥

Guna Kirtana (recalling of the qualities of the beloved)

Nayaka to friend:
“The most exquisite touch is that of her bosom; the most

bewitching sights that of her face; and the most ecstatic time is that
spent in exchange of words during the sport of 107९.” (127)

138

perenne tees! Se rk SE 4351

= £79. GA ई 2? ४-४२ ८

0...

83 Upveca (agitation) (128); Collection: Kasturbhai Lalbhai, Ahmedabad

sem
गरलद्रुमकन्दमिन्दुबिम्ब करुणावारिजवारणो AAA: |
रजनी स्मरभूपते: कृपाणी करणीयं किमत: TT विधात: ?॥ १२८॥

Udvega (agitation)
(Lover, in separation, to himself )

“The moon affects me like a poisonous root; springtime is undoing
the effect of merciful lotuses; the night pierces me like the sword of
Kamadeva. What shall I do, my God?” (128)

139

FOE OT ST eee aren: ene rs

उत्कंठा
अद्विसंवीक्षणं चक्षुरद्विसम्मीलनं मन: |
अद्विसंस्पशनः पाणिरद्य मे कि परिष्यति ॥ १२६॥

Utkantha (longing)
Lover to friend:

“My eyes have not seen anyone other than my beloved, nor has
my mind cherished the thought of another person, nor, indeed, has my
hand known the touch of another person. What, then, shall I do (in
my present state of separation) ?” (129)

140

84 UnMADA’ (frenzy) (130); Collection: Kasturbhai Lalbhai, Ahmedabad

SATS

प्रतिफलममृतांशोर्वीक्ष्य कान्‍्तो मृगाक्ष्या
मुखमिति परिहासं कर्तुमभ्युद्यतों भूत्‌ |

aa शिथिलितवाचो मानमाशंक्य तस्या:
स्पृशति पुलकभाजा पाणिपंकेहेरुण ॥ १३० ॥

Unmada (frenzy)

Seeing the reflection of the moon and mistaking it for the face of
his doe-eyed girl, the lover prepared to say entertaining words.
Thereafter, suspecting that the beloved was not speaking up because
of her pride, he is touching (or caressing) the reflection with his thrilled

lotus-like hand. (130)
141

वाचिक उन्माद

कि रे विधो ! great मुखमद्वितीयं

कन्दपं ! हृप्यसि हृगम्बुजमन्यदेव |
भंकारमावहसि भू ग ! तनुने ताहक

कर्माणि धिह न पुनरीहृशमीक्षणीयम्‌ ॥ १३१ ॥

Vachika Unmada (frenzied speech)
Lover, in separation, raves:

“O moon! In vain do you feel proud (of your beauty), for the
face of my doe-eyed girl is incomparable. O Kamadeva! You, too,
unreasonably pride yourself (on the effectiveness of your arrows) for
the lotus-like eyes of my beloved are something unique. O bee! You
are buzzing (mistaking my beloved for a creeper), but her body is
more slender than a creeper. Fie on your doings; no one like her will
ever be seen.” (131)

व्याधि

कोदण्ड विशिखो मनोनिवसति: कामस्य तस्या aft
अवल्ली नयनांचलं मनसि ते वास: समुन्मीलति ।

इत्थं साम्यविधो तयो: प्रभवति स्वामिस्तथा स्निद्यतां
तन्वाना तनुतां क्रमादतनुतां नेषा यथा गच्छति ॥ १३२ ॥

Vyadhi (sickness)
Sakhi to Nayaka:

“The bow and arrows of Kama lodge themselves in the heart (of
a lover); so, also, the curved lines of your beloved’s eyebrows and her
slanting gaze lodge themselves in your heart. There being such
similarity between Kamadeva and your beloved girl, you should give
her your affection, my lord, so that, while languishing more and more,
she does not get disembodied (like Kamadeva).” (132)

142

85 Japata (stupor) (133); Collection: Victoria and Albert Museum, London

जड़ता

पाणिनीरवकंकण: स्तनतटी निष्कम्पमानांशुका
दृष्टिनिश्वलता रका समभवन्‍न्निस्ताण्डवं कुण्डलम्‌ |
कद्िचित्रापितया aa क्ृशतनोभेंदोभवेननो यदि
त्वन्नामश्रवणेन BIST पुलकारम्भ: समुज्जुम्भते ॥ १३३ ॥

Jadata (stupor)
Sakhi to Nayaka:

“The bracelet on her hand is producing no sound; the garment
on her bosom is not waving; the gaze of her pupils is fixed; and her
ear-rings are dancing no more. There is no difference between her
and one painted on canvas, unless a ripple of thrill is awakened in her

_ on her hearing your name.” (133)

143

CHAPTER XIX

Seeing the Lover

Darshana

Darshana, is seeing the lover. The lover may be seen in dream,
in a picture, or face to face.

144

स्वप्न दर्शन

मुक्ताहारं न च कुचगिरे: HHT नव ZETA

कर्णात्‌ स्वर्णाभरणमयि ! वा नीतवान्नंव ara |
ग्रद्य स्वप्ने बकुलमुकुलं भूषणं APTANA:

Hist चौरो हृदयमहरत्तन्वि तन्‍न TATA: ॥ १३४ ॥

Svapna Darshana (seeing lover in dream)
Gopi to Sakhi, having seen Krishna in dream:

“0 slender girl, I do not know the thief, who appeared in my
dreams today, wearing ornaments of maulashri buds, and stole neither
the pearl-necklace from my bosom, nor the bracelet from my hand,
nor the gold ear-ring from my ear, but stole away only my heart.” (134)

145

86 (प्राार& DarsHana (seeing of lover in picture) (135); Collection:' Museum of Fine:Arts, Boston

चित्र दर्शन

नीवीं हरेदुरसिजं विलिखेन्नखेन

SIGS च दशनेन दशेदकस्मात्‌

इत्थं पटे विलिखितं दयितं विलोक्य

बाला पुरेव न जहार विहारशंकाम्‌ ॥ १३५॥

Chitra Darshana (seeing of lover in picture)

The young girl, seeing the picture of her lover, could not, as
before, discard the fear of love-making, fearing lest he should suddenly
unloosen the knot of her garment, injure her bosom with his nails, and
bite her lips with his teeth. (135)

146

87 SAKSHAT DARSHANA (seeing lover face to face) (136); Collection: Bharat Kala Bhawan, Banaras

साक्षात दर्शन

चेतरचंचलतां aa, प्रियसखि ब्रीड़े a मां पीडय,
sada zat निमेष ! भगवन्‌ काम : क्षण क्षम्यताम्‌ |
बह मूर्थनि कर्णयोः Faas वंश TATA: करे

सोड्यं लोचनगोच रो भवति मे ANAT: सुन्दर: ॥ १३६ Ul

Sakshat Darshana (seeing lover face to face)
Nayika’s prayer on seeing Shri Krishna in person:

“OQ my mind, give up your playfulness) O my friend-like
bashfulness, pray do not afflict me (i.e. do not inhibit me). O my
brotherly eyelids, let my eyes open wide. O Lord Kamadeva, forgive
me for a moment. The comely Krishna, wearing a peacock feather
on his forehead and blue lotuses in his ears and carrying a flute in his
hand, is appearing before my eyes.” (136)

This painting bears the colophon mentioning the name of the artist Devidasa, and his
patron Raja Kirpal Pal of Basohli.

147

उपसंहार
माध्वीकस्यन्दसन्दोहसुन्दरीं रसमंजरीम्‌ |
HAT PAT: कर्ण-भूषणं FIAT मम ॥ १३७ Il

May the poets, in their kindness, make my Rasamanjari which has
been beautified as if by an excessive flow of honey, the ornament of
their ears. (137)

(May they hear the sweet poetry of my book, Rasamanjari.)

प्रात्म परिचय

तातो यस्य गणेश्वर: कविकुलालंका रचूडामणि-

देशो यस्य विदेहभू: सुरसरित्कल्लोलकिर्मीरिता |

पद्येन स्वकृतेन तेन कविना श्रीभानुना योजिता
वाग्देवीश्रुतिपारिजातकुसुमस्पर्धाकरी मंजरी ॥ १३८॥

Bhanudatta, who is the son of the most distinguished poet,
Ganeshwara, and who is a resident of the city of Mithila, which is
washed by the waves of the Ganges, has composed with his own verses
this Rasamanjari, which vies with the flowers of the heavenly tree Parijata
—adorning the ears of the Goddess Saraswati. (138)

14.9

REFERENCES

Aijazuddin, F. S. Pahari Paintings and Sikh Portraits in Lahore Museum, London,
1977.

Archer, W. G. The Loves of Krishna, London, 1957.

Archer, W. G. Indian Paintings from the Punjab Hills, London, 1973.

Barrett, D. and Gray, B. Paintings of India, Geneva, 1963.

Coomaraswamy, A. K. Catalogue of the Indian Collections in the Museum of Fine
Arts, Boston, Part V, Rajput Painting, 1926.

Khandalavala, K. Pahari Miniature Painting, Bombay, 1958.

Raghavan, D. Sringaramanjari of Saint Akbar Shah, Hyderabad, 1958.

Randhawa, M.S. Basohli Painting, New Delhi, 1959.
A note on Rasamanjari Paintings from Basohli, Roopalekha, Vol. XXXI, No. 1,
June 1960.

Randhawa, M. S. and Galbraith, J. K. Indian Painting, Boston, 1968,

Shastri, H. Indian Pictorial Art as developed in Book Illustrations, Baroda, 1936.

1.6 NCA, Li ~

* oe AN,

(०० BE-Wa |
‘( peptt. of 2६९, :
Sighs 3
SOV SF INDE.

149

About the Authors

Dr M. S. Randhawa was Adviser to
the Planning Commission from 1960
to 1964. As a Special Secretary to
the Ministry of Food and Agriculture,
Government of India, he piloted the
schemes of intensive agriculture
which resulted in the Green Revolu-
tion. As Chief Commissioner of the
Union Territory of Chandigarh he
founded the Art Museum. His last
official assignment was as Vice-
Chancellor of the Punjab Agricultural
> University from 1968 to 1976. He
made P.A.U. the leading agricultural
university in Asia. He is an authority
on Pahari Painting and has a number
of books on this subject to his
credit. His co-author, Shri S. D.
Bhambri, is a senior |. A. 5. officer
who is at present Chief Secretary
to the Haryana Government. He isa
renowned scholar who has command
over English as_ well as Sanskrit.
Apart from the Rasamanjari, he has
also translated the Rasikapriya of
Keshav Das.

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